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Parlor Games> Tricl^s^ Dialogues, 




Copyright, 1887, 


Press of 


Chicago, III. 



Intboduction 6 

Invitations 7 

Dancing • 9 

The Plain Quadrille 10 

The Lanciers 11 

Waltz Quadrille 13 

The Loss of WaiBt 13 

Ball's Health Preserving Corset r 15 

Kalio 16 

Testimony of Madame Adelina Patti 17 

Lawn Tennis 18 

Style B. Corset 24 

Testimony of Uladame £mma Steinbacli 25 

Parlor Games 26 

How to Make Money without Work 26 

Harmless Gambling 26 

Mesmerism 37 

Pinning a Thimbleful of Water on the Wall 27 

How to Place an Egg so that it Cannot be Broken with a Dish Pan 27 

The Dwarf 28 

Mind Heading 28 

Apple Eating Match 28 

The Broom-Handle Giant 29 

The Young Giant 29 

Some Hard Lines to Repeat 30 

Drawing Extraordinary 30 

Grotesque Shadow Pantomimes 31 

Playing Blind Man 31 

The Cushion Dance 31 

The Game of Geography 32 

Consequences 32 

The Comic Concert 33 

Some Hard Blowing 34 

The Great Head 34 



Fortune-Telling with a Bible 34 

Misplaced Objects 35 

Apprentices 35 

A New Form of Bell 36 

A Chestnut Court 36 

The Blind Slaves 36 

Earth, Air and Water 37 

Forfeits 37 

The Victims of Corsets 38 

The Antiquity of the Corset 39 

Tight Lacing 40 

Circle Hip Corset 41 

Testimony of Madame Fursch-Madi 41 

Dialogues 43 

Kabo 43 

A Dispute About Corsets 47 

Charades 50 

Pantomimes 51 

A Tribute to the Ladies 54 

A Poor Wife 54 

H. P. Abdominal Cbrset 55 

H. P. Exti'a liong Corset 56 

Parlor Magic 57 

To Discover a Card Drawn 57 

To Discover a Card Thought of 57 

Sleight-of-Hand Tricks with Cards 58 

A Simple Trick 59 

To Call Off the Cards in a Pack which is Turned Upside Down 59 

To Cause a Card Drawn to Kise Out of the Pack 59 

The Boomerang 60 

To Kestore a Kibbon After it is Destroyed 60 

A Love Test 61 

To Extract a Cork from a Bottle without Touching the Cork , 61 

Clairvoyance 61 

How to Find the Number of Points in Each Die Thrown 63 

To Extract Eggs from an Empty Bag 63 

Burning Ice 63 

How to Convert Paper Shavings Into Ribbons 64 

To Put Water Into a Tumbler When Upside Down 65 

Guessing the Two Ends of a Line of Dominoes 65 

Told Him '. 65 

Wedding Anniversaries 66 

Handkerchief Flirtations 66 

"What Eminent Physicians Say of Ball's Corsets 67 

H. P. Nursing Corsets 68 

Ciruarantee 69 

Ball's H. P. Misses' Corset 70 



Tableaux. 71 

Pocahontas Saving the Life of Captain Smith ! 71 

The Volunteer— in Three Tableaux 72 

The Dead Mouse , 73 

The Drunkard's Home 73 

The Fine Arts 74 

Eigrht Excellent Seasons Why Every Lady Should Wear 

Ball's Corsets 75 

Kaho Corset 76 

Fancy Work 77 

To Make a Handsome Work Case 78 

To Make Handsome Designs for Neat Pin-Cushions, etc., on a Sewing Ma- 
chine .«L 77 

Bird's Nest Penwiper 78 

A Pretty Penwiper '. 78 

Origin of Crazy Quilts 78 

Artificial Illuminations 79 

Shaving Paper Case. '. 79 

Sofa-Cushion Cover 80 

A Pretty Easel for Photographs 81 

Wash-stand Frills 81 

Table and Chair Covers of Stamped Linen 81 

The First Corset 82 

Painful State of Uncertainty 83 

Death from Tight-Lacing 84 

A Lesson in Pronunciation , 84 

What Eminent Physicians Say of Ball's Corsets 85 

Liadies, Try Ball's Coi'sets 86 

Caution 87 

Testimony of Mrs. J, Parry, of the Mapleson Opera Company. . 88 

Palmistry 89 

A Big Corset Factory 94 

Tight-Lacing 95 

Come Again.. 96 


In preparing this book for the public our aim has been to place 
within the hands of every lady the means of making her home a pleas- 
ant one for all visitors, and also to give her some important hints con- 
cerning her health and beauty, which she may have been wholly ignor- 
ant of. 

The Games and Pastimes which -we describe require no elabo- 
rate preparations. They are intended for Parlor and Lawn, as the title 
of the book will indicate, and are selected with a view to simplicity. 
We have inserted nothing which is difficult to learn. 

Every one knows how hard it is sometimes, even on occasions of 
great festivity, like weddings, or birth-day parties, to make the com- 
pany feel quite at home. Especially is this true where there are stran- 
gers among them. In such cases if the hostess will but set things mov- 
ing by starting one of the games given in this book, it will take but a 
short time before everybody is on terms of easy familiarity with every- 
body else. 

This alone would make the book valuable. But, as it is norpur 
purpose to praise it, we will ask you to read it through, feeling sure 
you will appreciate its merits. 



— W- OF .«>— 

Games and Pastimes. 


Invitations should always be worded as concisely as possible. It is 
not necessary to conform to any strict rule with regard to wording, yet 
there are certain forms which through constant use have come to be 
looked upon as "proper." 

Invitations to dine are usually worded as follows : 




the honor of 


Brown's co?npany at 

dinner on 

Tuesday^ the 

nth January^ 1 

at 7 



. J, 1887. 


S. V. P. 

When "K. S. V. P." appears on the corner of an invitation, it ia 
understood to mean that an answer is expected. In such cases it is 
proper to send an answer immediately, or at least as soon as possible, 
especially if the invitation be to dinner. The correct way of answering 
the above invitation is as follows : 


Mr. Brown 

Has the honor to 


Mrs. Smith's 

Kind invitatio7i to D 



Tuesday., the nth 
at 7 o'clock. 




For receptions the wording is usually more brief. For example : 

]\fr. and Mrs. yno. Smith, 

Friday, yuly J 2th, 

From six till ten o'clock. 

No. 41'/ Prairie Ave. 

Parties admit of a greater variety of forms of invitations. The most 
common is: 

Mrs. y, D. Williams 

Requests the pleasure of your company 


Thursday Evening, yanuary loth, 

at 8 o'' clock. 

Or for a more informal affair: 

Five o'clock tea, 
Wednesday, March 20th. 


Invitations to weddings are issued as coming from the parents of 
the bride. The following is generally the form: 

Mr. and Mrs. D. M. Richardson 

Request the pleasure of your cojnpany at the 

marriage of their daughter 




At their residence., 241 Vincennes Avenue., 

Thursday., Alay 14, 1886., 

at 8 o'^clock. 

In preparing for your guests it is always well to devise some means 
of showing them that you have taken especial pains in their behalf, aside 
from the money you have spent. For instance, if your dinner be served 
by a caterer, a bouquet of flowers on ' the table which do not bear evi- 
dence of the florist's skill will, perhaps, be more appreciated than an 
elaborate floral design which is stamped " bought." Festooning or drap- 
ing your reception rooms will have the same effect, the idea being to 
show your guests that you have thought enough of them to devote a 
portion of your time to arranging for their comfort and amusement. 


At every social gathering where there is a piano or other musical 
instrument, and some one can be found willing and able to play, more 
or less dancing will be indulged in. In those cases the quadrilles, al- 
though the most enjoyable of all dances, are usually omitted because no 
one can be found who can "call." In order to remedy this difficulty 
wherever this book goes,- we give a list of the most familiar square 
dances and the manner of calling them. 




First four : Right and left 8 bars. 

Balance 8 bars. 

Ladies' Chain 8 bars. 

Balance 4 bars. 

Swing 4 bars. 

Side couples : The same. 


First four : Forward and back 4 bars. 

Forward again, ladies in the center 4 bars. 

Chassez all 4 bars. 

Balance to Partners .4 bars. 

Swing 4 bars. 

Side couples : The same. 


First four : Forward and back 4 bars. 

First lady cross over 4 bars. 

Forward and back 4 bars. 

Ladies cross over 4 bars. 

Forward and back 4 bars. 

Forward again, four hands round 8 bars. 

Half right and left 4 bars. 

Side couples : The same. 


First four : Forward and back 4 bars. 

Cross over 4 bars. 

Chassez to partners 4 bars. 

Cross back 4 bars. 

Balance 4 bars. 

Swing 4 bars. 

Side couples : The same. 




First four : Forward and back 4 bars. 

Forward again and swing opposite partners . 4 bars. 

Ladies' chain back to partner 4 bars. 

Balance to corners 4 bars. 

Swing 4 bars. 

Side couples : The same. 


First four : Forward and back .4 bars. 

Forward again, ladies in the center 4 bars. 

Chassez to right and left 4 bars. 

Swing partner to place 4 bars. 

All : All forward and back 4 bars. 

Swing partners 4 bars. 

Side couples : The same. 


First four : Forward and back 4 bars. 

Forward again and salute '4 bars. 

Four ladies cross right hands, left to part- 
ners 4 bars. 

Promenade half round 4 bars. 

Cross left hands and promenade back 4 bars. 

Side couples : The same. 


First four : Lead to the right and salute 4 bars. 

Lead to the left and salute 4 bars. 

Balance to partners 4 bars. 

Right and left 4 bars. 

Side couples : The same. 



Grand right and left 16 bars. 

First couple face out, side couples follow. 8 bars. 

Chassez all 8 bars. 

March in single file 8 bars. 

All forward and back 4 bars. 

Forward again and swing partners to 

place 4 bars. 

Repeat four times, each couple facing outward in succession. 
At the Close — Grand right and left half way round and prom- 
enade to seats. 



First four : Right and left. . .'. , 8 bars. 

Waltz 16 bars. 

First four : Ladies' Chain 8 bars. 

All : Waltz 16 bars. 

Side four : The same 


First four : Forward two 16 bars. 

All : Waltz 16 bars. 

Side four : The same, twice. 


First four : Forward four 4 bars. 

Forward again, change partners 4 bars. 

All : Waltz '. .16 bars. 

Side four : The same, twice. 


All : Join hands, forward and back 4 bars. 

Turn partners to places 4 bars. 

All : Waltz 16 bars. 

This is done four times. 



All : Right and left half round 8 bars. 

All : Waltz 16 bars. 

Head couples : Forward two 16 bars. 

All : Waltz 6 bars. 

Side couples : The same. 

All : Waltz. At the close, salute 8 bars. 


Women, especially those of the upper classes, who are not obliged 
to keep themselves in condition by work, lose after middle age (some- 
times earlier) a considerable amount of their height, not by stooping, as 
men do, but by actual collapse, sinking down, mainly to be attributed to 
the perishing of the muscles that support the frame, in consequence of 
habitual and constant pressing of stays and dependence upon the artifi- 
cial support by them afforded. Every girl who wears stays that press 
upon these muscles and restrict the free development of the fibres that 
support them, relieving them from their natural duties of supporting 
the spine, indeed incapacitating them from so doing, may feel sure that 
she is preparing herself to be a dumpy woman. 

A great pity! exclaims The London Lancet. Failure of health 
among women when the vigor of youth passes away is but too patent, 
and but too commonly caused by this practice. Let the man that 
admires the piece of pipe that does duty for a human body picture to 
himself the wasted form and seamed skin. Most women, from long 
custom of wearing these stays, are really unaware how much they are 
hampered and restricted. A girl of 20, intended by nature to be one of 
her finest specimens, gravely assures one that her stays are not tight, 
being exactly the same size as those she was first put into, not perceiv- 
ing her condemnation in the fact that she has grown five inches in 
height and two in shoulder-breadth. Her stays are not too tight, 
because the constant pressure has prevented the natural development of 
heart and lung space. 

The dainty waist of the poets is [precisely that flexible slimness 
that is destroyed by stays. The form resulting from them is not slim, 
but a piece of pipe, and as inflexible. But, while endeavoring to make 
clear the outrage upon practical good sense and sense of beauty, it is neces- 
sary to understand and admit the whole state of the case. The reason, if 


not a necessity, for some, sort of corset may be found when the form is very 
redundant ; this, however, can not be with the very young and slight, 
but all that necessity could demand, and that practical good sense and 
fitness would concede, could be found in a strong elastic kind of jersey, 
sufficiently strong, and even stiff, under the bust to support it, and suffi- 
ciently elastic at the sides and back to injure no organs and impede no 
functions. Even in the case of the young and slight an elastic band 
under the false ribs would not be injurious, but, perhaps, the contrary, 
serving as a constant hint to keep the chest well forward and the shoul- 
ders back ; but every stiff unyielding machine, crushing the ribs and 
destroying the fibre of muscle, will be fatal to health, to freedom of 
movement and beauty. It is scarcely too much to say that the wearing 
of such amounts to stupidity in those who do not know the consequences 
(for over and over again warning has been given), and to wickedness in 
those who do. 

— Lady of the house: — So, Bridget, you think you will have to leave 
me, do you? Bridget — Yis, mum. Lady of the house — What is the 
trouble? Is the work too hard for you? Bridget — No, mum; I kin 
not complain about that. Lady of the house — Isn't the pay satisfactory? 
Bridget — Yis, mum. Lady of the house — What, then, is the trouble? 
Bridget — Yer see, mum, Oime a brunetter, an' that kitchen, mum, was 
fitted for a blonde. I'll not stay, mum, an' try my complexion, mum, 
day an' night. — St. Paul Globe. 

— Better Than a Doctor. — "I feel depressed to-night," re- 
marked a large, down-town trunk manufacturer to his wife ; "I think I 
have a touch of malaria." "I fancy it will soon pass away," replied the 
lady, without much concern. "Why don't you go around to the Grand 
Central station and watch them handle trunks for an hour. That will 
brighten you up." — N. Y. Sun. 

— Algernon — Ya-as, deah boy, I've been desperwately ill; don't 
you know — desperwately. Fuller — Indeed; what was the trouble ? 
Algernon — I had the b-bwain fever. Fuller, skeptically — ^O, what are 
you giving me? — Rambler. 

— They call it a romantic marriage in Minnesota when a couple of 
the neighbors get the bride's father in a back room and sit on him to 
prevent his interrupting and breaking up the wedding. — Ex. 

Ball's Health PressrYing Corset. 



TMs Corset is in fact, what its name implies, when contrasted with 
the rigid, unyielding, " have to be broken in before worn ". affairs of the 
present day. It is one of the snuggest, closest-fitting Corsets made, yet 
perfectly comfortable at all times, whether new or old, and needs no 
breaking in. Why? Because, by an ingenious arrangement of a fine 
coiled spring running back and forth across a section of the Corset (see 
cut above), which renders this section elastic, the Corset thereby con- 
forms more closely to the figure, giving a finer outline. It also yields 
readily to every breath and movement of its wearer. 

The elastic section is unlike rubber, in that it will not heat the 
person or decay with age, and emits no disagreeable odor. It is war- 
ranted to outwear the Corset unimpaired. 

Made in white and drab satteen jean. Sizes from 18 to 36. 

Testimony of Madame ADELINA PATTI, the " Queen of 


The Gkand Pacific Hotel, John B. Drake & Co., Proprietors, 
Chicago, April 17, 1885. — Bear Sirs : I can understand physicians 
recommending "Ball's Corsets." I have tried them and regret not 
having known them before. 


To the Chicago Corset Co. 


We Jiave abondoned the use of French Horn in 'Ball's 
Corsets, and use instead a new inaterial called KABO, 
ivhicJi, after^ being treated bij a secret process, discovered 
by our Mr. Florsheitn, is absolutely unbreakable. It 
will prevent the Corset from rolling up in tvear. It is 
more pliable than horn, and does not break, nor become 
brittle and dry up while on the shelf. We warrant our 
Corsets boned with Kabo not to break or roll up in 
tJiree months ordinary wear. We make a cheap grade 
of Corsets better than any imitations of Ball's Corsets, 
ivhich tve continue to bone tvith French Horn, and sell 
at less than any imitation offered to the trade, but ive 
confidently recommend our Kabo boned Corset as the 
best and most durable of any Corset ever before offered 
to the trade. We have thoroughly tested Kabo by actual 
wear for over one year, and consequently offer the 
guarantee as herein stated. 


Testimony of Madame ADELINA PATTI, the " Queen 

of Song. 




<S>/2/9t ^tbat 


'^ m iyCi^ <?*^^ ^- 


Lawn Tennis. 

The most popular of all out-door games, as well as the one re- 
quiring most skill, which can be participated in by ladies, is Lawn-Ten- 
nis. It is not necessary to have a certain number of players, or that 
the sexes be equally divided, since the game can be played by ladies 
alone. Two, three or four ladies may have just as good an opportunity 
of exercising their skill when alone as when accompanied by gentle- 

A sketch on this game would be incomplete without some instruc- 
tions for the ladies as to their mode of dress. Luckily, short dresses 
are now the fashion and it is not necessary to have dresses made especi- 
ally for the game. The player should get rid of all incumbrances or 
anything which is likely to hinder her before the game begins. Ban- 
gles and bracelets should be discarded, as well as rings, if the player 
wear more than one. A large hat, especially one that is apt to come 
loose and needs frequent adjustment, will be found uncomfortable, 
Tight shoes should never be worn. The toes should be square or round, 
andthereshouldbe no heels. An india-rubber sole is desirable, or one 
with points {i. e. — small nails, whose heads protrude far enough to pre- 
vent slipping). In this connection corsets should not be forgotten, and 
Ball's Kabo Corsets, which allow the utmost freedom of movement, 
should be worn in preference to any other. 


The court is 78 feet long. It is 27 feet wide for single game, and 
36 feet for the double game. If no measuring chain be at hand, the 
following will be found an easy way of marking out the court : 

Provide yourself with two long measures ; select the place for the 
net: then measure 86 feet across ; at each end put in a peg, and over each 
peg slip the ring of a measure. On one measure take 39 feet, and on 
the other 53 feet and f inches ; pull both taut, and the place where the 
two ends meet will be one corner of the court. Put in a peg, at 21 feet 
from the net for the end of the service line. Next transpose the meas- 


ures and repeat tie same process. This will give the other corner of 
the court, and at 21 feet will be the other end of the service line, and 
one-half of your court is ready. Do the same on the other side of the 
net and you have your court complete. The side lines of the single 
court are made by marking ofE 4 feet, 6 inches, from each end of the 
base lines, and running lines parallel to the side-lines of the double 
court from one base-line to the other. Everything necessary is thus 
found except the central-line, which runs froxi the middle of one ser- 
vice-line to the middle of the other. The posts of the net stand 3 feet 
outside of the side-lines. If the court be intended for double play 
only, the inner side lines need not be carried farther from the net than 
the service lines. If a single court only is to be marked out, the diagon- 
al is about 47 feet, 5 inches, instead of 53 feet, f inches. 

The net should be composed of cords not too thick to obstruct the 
view, while the meshes should be too small to allow a ball to pass 
through. It is well to hirSk the net at the top with a strip of duck or 
cotton, which can be seen in a bad light if the game be played at night. 

Balls and rackets need no preliminary tinkering, although the 
player should exercise great care in the purchase of a racket. Do not 
get an odd-shaped racket. The simplest form, strung in the usual 
way, with an octagonal handle, will be found the best. It should not 
be heavier than 14 or 14i ounces. 


Service. — By service is meant the first toss of the ball by the per- 
son who starts the game. 

First Stroke. — By this is meant the return of the service. 

Stroke. — By this is meant the return of a ball after it has struck 
the ground. 

Volley. — A ball is volleyed when it is returned before it reaches 
the ground. 

Half- Volley. — This stroke con&ists in taking the ball just as it be- 
gins to rise after striking the ground. 

Lob. — A lob is a ball tossed in the air so that it shall fall far back 
in the court, and shall be out of reach of a player standing as far for- 
ward as the service-line. 

Bisque. — A bisque is one stroke given in each set of a match, 
either by itself or to increase or diminish the odds. In other words, a 



player to whom a bisque is given can at any time in the set add one 
stroke to his score simply by claiming it. 




X A 



31 feet. ; 21 feet 








AA— Net. • 

CD-EF— Base lines. 
CE-DF— Side lines. 
GH— Half court line. 
XX- YY— Service lines. 

1. The players shall stand on opposite sides of the net ; the player 
who first delivers the ball shall be calledthe server, the other the striker- 
out. At the end of the first game the server becomes the striker-out, 
and the striker-out becomes the server, and so on alternately in the sub- 
sequent games. 

2. The server serves with one foot on the base-line, and the other 
behind that line, but not necessarily upon the ground. Service must be 
delivered from the right and left courts alternately, beginning from the 

3. The ball served must drop within the service line, half court 
line, and side line of the court diagonally opposite to that from which 
it was served, or upon any such line. 

4. It is & fault if the service is delivered from the wrong court, or 
if the server does not stand as directed above, or if the ball served drops 
in the net or beyond the service line, or if it drops out of court or in the 
wrong court. 

5. A fault may not be taken. It cannot be claimed after the next 
service has been delivered. 

No. 6. After a fault the server shall serve again from the same court 


from which he served that fault, unless it was a fault because served 
from the wrong court, 

7. The service must not he volleyed. 

8. The server must not serve until the striker-out is ready. If the 
latter attempts to return the service he is deemed ready. Neither a 
service nor fault is counted when the striker-out is not ready. 

9. A ball is in play from the moment at which it is delivered in 
service until one of the players loses a stroke. 

10. The return of a service may be good, even though the ball 
touch the net, but a service, although otherwise good, is a fault if the 
ball touch the net. 

11. Either player loses a stroke if the ball in play touch him or 
anything he wears or carries, except his racket in the act of striking; 
or if he touch or strike the ball in play with his racket more than once; 
or if he touch the net or any of its supports while the ball is in play; or 
if he volley the ball before it has passed the net. 

12. The server wins a stroke if the striker-out volley the service or 
fail to return the service, or the ball in play, or return the service or 
the ball in play so that it drops outside any of the lines which bound 
his opponent's court, or otherwise lose a stroke as provided above. 

13. The striker-out wins a stroke if the server serve two consecu- 
tive faults, or fail to return the ball in play so that it drops outside any 
of the lines which bound his opponent's court, or otherwise lose a stroke 
as provided above. 

14. The players should change sides, either after every set or after 
every game, whichever they prefer. 


15. On either player winning his first stroke, the score is called 15 
for that player ; on either player winning his second stroke, the score 
is called 30 for that player ; on either player winning his third stroke, 
the score is called 40 for that player ; and the fourth stroke won by 
either player, is scored game for that player, except as below : 

If both players have won three strokes the score is called deuce ; 
and the next stroke won by either player is scored advantage for that 


player. If the same player wins the next stroke he wins the game ; if 
he lose the next stroke, the game is again called deuce ; and so on until 
either player win the two strokes immediately following the score of 
deuce, when the game is scored for that player. 

The player who wins six games first wins the set, except as below: 
If both players win five games the score is called games-all; and the 
next game won by either player is scored advantage game for that 
player. If the same player win the next game, he wins the set ; if ho 
lose, the score is again called games-all, and so on until one of the 
players wins two games immediately following the score of games-all, 
when he wins the set. 

Players may agree not to play advantage-sets, but to decide the set 
by one game after arriving at the score of games-all. 


16. A bisque may be claimed by the receiver of the odds at any 
time during a set, except as below : 

A bisque can not be taken after the service has been delivered. 

The server cannot take a bisque after a fault, but the striker-out 
may do so. 

One or more bisques may be given in augmentation or diminution 
of other odds. 

Half-fifteen is one stroke given at the beginning of the second and 
every subsequent alternate game of a set. 

Fifteen is one stroke given at the beginning of every game of a set. 

Half-Thirty is one stroke given at the beginning of the first game; 
two strokes at the beginning of the second game; and so on alternately, 
in all the subsequent games of a set. 

Thirty is two strokes given at the beginning of every game of a set. 

Half-forty is two strokes given at the beginning of the first game; 
three strokes «t the beginning of the second game ; and so on, alter- 
nately in all the subsequent games of a set. 

Forty is three strokes given at the beginning of every game of •&, set. 

Half Court: The players having agreed into which court the 
giver of the odds shall play, the latter loses a stroke if the ball, re- 
turned by him, drop outside any of the lines which bound that court. 








42: ft, 





C A E 

Double Court. 

Note. — The double court is similar to the single court, except that 
the service lines are not drawn beyond the points X X and Y Y. 

1. In the three-handed game the simple player shall serve in 
every alternate game. 

2. In the four-handed game the pairs may decide which partner 
shall serve and strike out first. The partner of the player who served 
in the first game shall serve in the third, and the partner of the player 
who served in the second game shall serve in the fourth, and so on. 

3. The players shall take the service alternately throughout each 
game; no player shall receive or return a service delivered to his part- 
ner; and the order of service and of striking out shall not be changed 
for the set. 

4. The ball served must drop within the service-line, half-court- 
line, and service-side-line of the court diagonally opposite to the one 
from which it is served, or upon any such line. If it does not drop in 

this way it is &, fault. 


— ^Young clerk to his employer — "Sir, there's a lady wishes to speak 
to you." Employer — "Good looking?" Clerk — "Yes, sir." Employer, 
on returning to the office— "A nice judge of beauty you are, I must 
say." Clerk — "You see, sir, I didn't know but what the lady might be 
your wife." Employer — "So she is." — Troy Times. 

— The season is over, thank heaven, when the weak young man at 
the picnic puts on a girl's hat and tries to be funny. — Puck. 



This Corset is made in the same style as our " Health Preserving," 
and is a very popular Corset. It fits perf ectljr, and gives a graceful 
figure to the wearer. 

Made in vphite and drab satteen jean, in sizes from 18 to 36. 

Testimony of Mrs. PARRY, of the " Mapleson Opera 

PAI.MER House, Chicago, April 18, 1885. 
To Chicago Corset Co. 

I f ull}^ recommend Ball's Corsets as being best adapted to singers, 
or, in fact, any one wishing to have a comfortable Corset. 


Mapleson Opera Co. 

Testimony of Madame EMMA STEINBACH, the 
famous Alto. 

Bdm^f /J^^^^^--^Ui^^ 


My Dear Sirs: — My best thanks for your excellent and comfort- 
ible Corset. It is a beauty of Workmanship, 



Parlor Games. 


Draw a number of lines from a common point in the manner of 
radii of a circle. Then ask each participant to place a coin upon one 
of the lines and to watch it carefully, taking care to remember which 
was his line and which was his money. Then move the money about 
on the lines until none of the coins are in their original places. Then, 
pointing to their lines, ask one after another: "Is this your line?" 
The answer in each case will, of course, be " Yes." Then point to the 
coins on the lines and ask them successively: " Is this your money? " 
And the answer will be " No " in every instance. Then pretend you 
are about to pocket the money, with the remark: "Well, as nobody 
seems to own this money, I'll keep it myself." 


Each one deposits a small sum in a pool. Then put a complete 
pack of cards into a bag and shake up well. The party forms a circle 
and the bag is handed around, each one drawing three cards. Those 
drawing pairs will be blessed by some good fortune in the near future 
and recover the sum deposited by them. The King of Hearts is the 
God of Love, and draws double the amount deposited; if a lady has 
drawn him she will soon be united with one who will be true to her 
forever. The Queen of Hearts is Cupid, and if drawn by a gentleman 
gives him the same good fortune as the King gives the lady. If any 
cue draws both King and Queen he clears the pool, and will never 
know what misfortune is. Fives and nines are unlucky numbers, and 
the drawers must deposit an additional stake besides the regular one 
paid by all at the opening of each new game. Three knaves dravpn by 
a lady shows she will be married three times; three sevens, that she 
will be an old maid; three fives, that she will be a grass widow. 



This should be practiced only upon persons of a good natured dis- 

Take two plates with a glass full of water on each. Blacken the 
bottom of one of the plates over a candle or kerosene lamp and hand 
the blackened plate with the glass of water to the victim. Then proceed 
to tell the audience that the operation about to be performed is a severe 
strain on the nerves and beseech them to remain perfectly quiet, to say 
nothing and above all, not to laugh. Having done this you take the 
other plate in your hand and instruct the victim to loook straight into 
your eyes and to go through the same operations you do, all the while 
watching you closely. You then dip two fingers into the water and 
wipe them across your forehead ; next you draw your forefinger across 
the bottom of the plate, and, starting from the top of the forehead, draw 
it down to the end of the nose, the victim doing the same and of course 
leaving a streak of lamp-black on his face. After you have adorned 
him with moustaches, double eyebrows, chin whiskers and several spots 
of war paint, tell him he is mesmerized and have him look in the 
glass. If the trick has been well performed, it may indeed be called 


Fill a thimble with water and take a pin, ostensibly for the purpose 
of pinning the thimble to the wall. Ask for the assistance of some good 
natured young gentleman, who will immediately undertake to help 
you. When you reach the wall drop the pin accidentally. Of course 
the young gentleman has to bend very low to reach the pin. While he 
is in that position, empty the water from the thimble upon his head or 
down his back, and the trick is performed. 


Bring in an egg and a dish pan, and let every one examine them to 
convince the audience that there is no fraud connected with them. 
Then announce that you are about to lay the egg upon the floor where 
no one will be able to smash it with the dish pan. Place the egg in a 
corner of the room, and it will not be possible to reach it with the 
dish pan. 



The articles required for this are always at the disposal of every- 
one. They consist of a pair of boots, a hat, a cloak or shawl, and a table 
which can be draped in such a way that the audience cannot look 
through beneath. It requires two persons to perform the act. One of 
them places his hands into the boots and rests them upon the table. 
This person forms the feet, body and head of the dwarf, the second per- 
son being required only for the hands. The latter stands behind the 
first in such a way that when the cloak is thrown over both he is en- 
tirely concealed, with the exception of his hands, which he stretches 
^ forward, one on each side of the person before him, so as to make them 
appear to be the hands of what seems to be a little man standing on 
the table. 

The cloak or shawl is then thrown about the dwarf and he is ready 
to amaze the audience with his eccentricities. His hands and feet of 
course do not act in harmony, but the effect is enhanced bv that fact. 


Have each participant write a short sentence or a word on a slip of 
paper and fold it up, and collect the slips in a hat. Then, drawing the 
slips from the hat, one after another, you hold each one of them above 
your head, unfold it, and, pressing it against your forehead, you say 
what it contains. If well performed this trick often causes a great deal 
of astonishment, no one being able to understand how you have learned 
the contents of the paper. The manner of doing it consists in invent- 
ing a sentence for the first one, and then, as you lay it down, obtaining 
a quick glance at the writing on it; then you repeat what was on the 
first slip as coming from the second, and so on until you have reached 
the last, when you must manage to get rid of that by putting it into 
your pocket unobserved, or crunching it up and throwing it away. 


Suspend two or more apples from a chandelier or a fastening in the 
ceiling, and then ofier a prize to the participant who first finishes eating 
his apple with his hands tied to his back. It is well to offer a prize of 
some value in this instance, because few will be found to face the roars 
of laughter which will greet their attempts to bite into the apples with- 
out the hope of a substantial reward. 




A glance at the illustration herewith given 
will be sufficient for most persons who desire to 
appear in this mirth-provoking costume. Secure 
a large, grotesque head and fasten it to a broom- 
handle. Then drape the figure with coarse cloth, 
which can be seen through. A hoop should be 
placed about the shoulders and another about 
the knees, fastened securely to the skirt. The 
lower hoop should be fastened to the waist by- 
tapes in such a way as to prevent the skirt from 
reaching the ground, however much the giant 
contracts. No one realizes, until he has seen it 
tried, how much fun can be had by masquerading 
in this costume. You can enter as a dwarf in a 
crouching position; then begin to draw yourself 
up to your full height; then raise the stick 
gradually until the head reaches the ceiling ; 
then make a graceful bow to the audience, 
which by this time will be convulsed in laugh- 
ter ; then proceed to amuse them by antics 
which cannot fail to be laughable, even if per- 
formed by a person usually grave and sedate. 


Another species of giant, not quite so popu- 
lar as the broom-handle giant is the YoTJNa 
Giant. It requires two persons to make him. 
A light boy is placed upon the shoulders of one of the tallest men 
in the assembly. His (the boy's) legs are held firmly against the sides of 
the man under the latter's arm pits, while the man's hands are held 
against the breast. A long coat, cloak or shawl is then placed around 
the boy. completely concealing the legs of the boy and arms and head 
of the man. A peep hole should be left in the cloak somewhere so that 
the lower part of the giant can see before him. The most striking 
characteristic of this giant is his youthful appearance, which is not at 
all in keeping with his size. 



Following are a few stanzas from which a great deal of amusement 
can be drawn, by asking persons unused to them to repeat one of them 
several times in succession rapidly : 

A Big Black Bug hit a Big Black Bear. 

Peter Piper picked a peck of prickly pepper, 

A peck of prickly pepper Peter Piper picked ; 

Now, if Peter Piper picked a peck of prickly pepper, 

Produce the peck of prickly pepper, that Peter Piper picked. 

As I went into the garden I saw five brave maids. 
Sitting on five broad beds, braiding broad braids ; 
I. said to the five brave maids, sitting on five broad beds, 
Braiding broad braids, " Braid broad braids, brave maids." 

It sometimes astonishes a party to learn that : 


Translated into plain English, is no more than : 

In mud eel is. 
In clay none is. 
In fir tar is. 
In oak none is. 


Provide each person with a pencil and a blank sheet of paper. 
Then decide upon something to be drawn with closed eyes. A pig is a 
good thing to begin with. "When the pictures are done the results will 
be curious. Some pigs will be standing on their own heads, others will 
have their tails in their mouths, and some will have all their legs on 
one end of their bodie£ 



A screen of muslin or other white cloth should be spread across 
the room. A room with sliding doors can be readily arranged for this 
purpose. A lamp is then placed, on the floor with a reflector back of it. 
When you stand before the light your image will be reflected upon the 
screen and magnified to immense proportions. By jumping over the 
lamp it appears to those on the other side that you have jumped up 
through the ceiling. It is glorious fun if performed by persons who 
have studied the matter a little. Pouring sawdust from a vessel pre- 
sents the appearance of a liquid. Kazors, shears, and such articles ap- 
pear ludicrously larg'e; a scrap of paper placed on each ear arouses 
shouts of laughter, while a wad of paper placed upon the nose suggests 
a tremendous wart. Some mirth-provoking scenes can easily be devised. 


An assembly can soon be made to realize how important their sight 
is to them by a few games like the following : 

Have them all stand on one side of the room. Then mark a spot 
on the opposite wall and request them to close their eyes and advance 
toward it, and indicate with their index finger where the spot is. The 
chances are that no one will come near it. 

Place a gentleman within a few yards of a table on which stands a 
lighted candle. Securely blindfold him and have him turn completely 
around three or four times. Then bid him advance toward the table 
and blow out the candle. He does not dare to get within range for fear 
of burning his nose and will make frantic efforts to blow it out when 
standing at right angles with it. 

Bring in a high silk hat and let every one look at it carefully. Then 
bid them close their eyes and indicate on the wall how high the crown 
would reach if the hat were placed on the floor. Some would appear to 
think a silk hat is a veritable " Stove pipe." 


A hassock is placed end upwards in the middle of the floor, round 
which the players form a circle, with hands joined, having first divided 
themselves into two parties of equal number. 

The adversaries, facing each other, begin business by ^adaag'tound 


the hassock a few times; then suddenly one side tries to pull the other 
forward, so as to force one of their number to touch the hassock and to 
upset it. The struggle that necessarily ensues is a source of great fun, 
causing as m.uch or even more merriment to spectators of the scene than 
to the players themselves. At last, in spite of the utmost dexterity, 
down goes the hassock or cushion; some one's foot is sure to touch it 
before long, when the unfortunate individual is dismissed from the 
circle and compelled to pay a forfeit. -' 

The advantage that the gentlemen have over the ladies in this 
game is very great; they can leap over the stool and avoid it times 
without number, while the ladies are continually impeded by their 
dresses. It generally happens that two gentlemen are left to keep up 
the struggle, which in most cases is a very prolonged one. 


In this game the party is divided into two sides and each has a 
leader. The leader of one side starts the game by selecting a letter from 
the alphabet, and calling out, for example, "Rivers," when the leader 
of the opposite side mentions the name of a river beginning with the 
letter selected, and is followed in rapid succession by the one next to 
him. If any one makes a mistake giving a lake instead of a river, he 
must take his seat. If any one hesitates, the opposite leader counts ten 
rapidly, and if tlae word is not forthcoming, the participant who is 
passed must be seated. If each one in the line answers correctly, the 
side scores. The other side is then put to the test and the game con- 
tinued until one side has scored 5, or has downed all the members of 
the opposite side. 


This game has been in vogue for along time, yet many ways may be 
contrived of playing it, so as to make it appear new each time. One of 
the favorite ways of playing it is as follows : The leader of the game 
provides each of the players with a pencil and a slip of paper. He 
then requests them to write at the head of the slip one or more adjectives, 
and to fold over the top of the slip so as to conceal the writing. Each 
one of them passes his slip to his neighbor on the left, and proceeds to 
write on the new slip handed to him by his neighbor on the right; (2) a 


gentleman's name, again folding, and proceeding as before with (3) one 
or more adjectives; (4) a lady's name; (5) some locality ; (6) an article of 
lady''s wear; (7) something one is apt to do when in love; (8) what he said; 
(9) what she said; (10) what the end of it was. 

Then the leader collects the papers and proceeds to edify the audi- 
ence "with intelligence something like this : 

The (1) brilliant, bombastic (2) John Smith called on the (3) emaci- 
tvted (4) Mary Ann Boggs, who resides (5) down in Bridgeport. He 
found her attired in a (6) BalVs Corset, and immediately proceeded to 
(7) hug her. He said to her, (8) " Why should the spirit of mortal be 
proud ? " and she answered (9) " tootsey-wootseyP The end of it was (10) 
a family row. 


In this performance the company for the time imagine themselves 
a band of musicians. Each provides himself, or herself, with a musical 
instrument of some kind, or an article which bears a resemblance to a 
musical instrument. Not only can all the violins, harps, flutes, accor- 
deons, pianos or jewsharps in the house be made use of , but such things 
as funnels, dish pans, or pot covers may be brought into requisition. 
These instruments are all to be performed upon, at the same time, each 
one imitating with his voice or by some other means the real sound of 
the instrument he is burlesqueing. The leader begins playing some 
familiar air on his imaginary violincello, or whatever else it may be, 
imitating a musician as well as he can, both in action and voice. 

The others follow. The sight, as may well be imagined, is exceed- 
ingly ludicrous and the noise deafening. Suddenly the leader, without 
any warning, gives away his instrument, and snatches that of some one 
else, substituting, for his former antics, the ones proper for his' new 
instrument. The performer who has been deprived of his instrument 
seizes that of some one else, the music in the meanwhile continuing. 
Every one is expected to watch the leader, and to make a sudden change 
when he does. The game may be continued for some time, each 
change creating new sights and sounds that are always laughable. 



Secure a hair from some lady's head and "with a tiny bit of shoe- 
maker's wax fasten it to a small piece of paper about an inch square, 
curled up in such shape that it could be readily blown away if not 
fastened. Place this in the middle of the table and stand a tumbler on 
the other end of the hair. Then announce that the tumbler standing 
before this piece of paper so intercepts the current of air that it is im- 
possible to blow it (the paper) away. This trick cavises a great deal of 
surprise if the hair is not detected, no one being able to understand how 
it is that the paper flutters but does not fly off. 


Enter the room with an air of great concern, and, in a voice of 
alarm, tell the assembly that you have just come from the kitchen, and 
that, through the door leading to the pantry, you had caught sight of an 
enormous head; that you are sure it is not the head of a human being, 
and that you have never seen an animal with such a head; and proceed 
to arouse their curiosity and alarm, warning them not to venture down 
alone, but to go in a body, armed with such weapons as are handy. 
When the party reaches the pantry door, open it and disclose an enor- 
mous head of cabbage. 


Insert a large key into a bible so that it shall touch the verse be- 
ginning with, " Set me as a seal upon thine arm, as a seal upon thy 
heart." Tie the key in place very firmly so that it will not slip. Then 
have a lady and gentlemen hold the bible by the key with their right 
fore-fingers. The bible will be balanced in such a way that it can turn 
when necessary. Then the person who desires to know whom he or 
she is going to marry (one of the two holding the bible) begins with the 
letter a and goes through the alphabet, the verse being repeated after 
each letter 9 When the initial of the surname of the person whom they 
are seeking is reached, the bible will turn towards the finger of the 
lucky holder of the bible, and a guess will reveal the full name. The 
most important of all the things required to work the charm is absolute 
faithj without which it will not work. 



Let each one be provided with a piece of paper and a pencil, and 
write a list of half a dozen or more names of objects. It makes no 
difference what the names are, and they may be embellished -^'ith ad- 
jectives. Theii the leader takes some familiar poem or prose selection 
and begins to read, every now and then stopping before a noun, which 
must be supplied by the person whose turn it is to read a name. Thus: 

" Friends, Romans, countrymen, lend me your — " 

" Fresh fish." 

" I come to bury — " 

" Diamonds." 

" Not to praise him. 

" The evil that men do lives after them. 

" The good is oft interred with their — " 

" Shaving mug." 

Xn this manner the game continues. 


This game is often a very merry one. It can be played with or 
without forfeits. It is commenced by one of the ladies declaring that 
she has had so much trouble with her son that she found it necessary to 
apprentice him to some artisan, and that the first thing he did was to 
make some article of which she gives only the initials, and the next 
person must guess what the article Avas. Then she in turn tells of her 
woes with her boy and how she had to apprentice him to some other 
artisan, and so the game is continued. The following will serve for an 

" Since my boy has left school he has been doing nothing but quar 
reling with my neighbors' boys. He came home with so many black 
eyes that I found it necessary to apprentice him to a butcher, who 
could supply him with beefsteak for them. The first thing he did was 
to sell a M. C." 

" Mutton chop. My boy has also been the cause of much trouble 
in oui neighborhood by throwing stones. So I apprenticed him to a 
stone-cutter. He at once made a G. S." 

" Orave stone. My boy wore out so many shoes that I sent him to 
a cobbler to be taught shoemaking. The first day a lady called who 
wanted some shoes, and he made her some M's," 


" M's — what can they be? Surely not mis-fits? Oh, mocassins "— 
and so the game is continued. 

The fun comes in when somebody makes a ridiculous answer. 


Tie a piece of cord around the handle of a poker leaving the two 
ends each about a foot long. Take the ends of the cord and pass them 
around the balls of the thumbs so that you can lift the poker in your 
hands. Then put the ends of the cords into the ears, pressing them in 
with your thumbs. If the poker is now struck by some one the sound 
will appear very loud to you though scarcely audible to any one else. 
A sharp blow from a hard substance will sound like a deep note from a 
piano. If a hammer is used the sound will resemble a church-bell. If 
the poker is a large one the tremendous sound it appears to produce 
will be a matter of great surprise to any one who tries the experiment. 


The game is started by one of the party giving utterance to a very 
old joke. Then everybody groans, and some one opens court to try the 
culprit for his offense. A jury is chosen, and they decide upon the 
punishment to be meted out. This may be that he must listen to five 
puns from some one who is alleged to be a punster, and must laugh at 
every one of them; or it may be that every one in the company should 
tell him a funny story, or some other punishment may be inflicted upon 
him which will afford amusement for all concerned. If he success- 
fully withstands all this, he is permitted to state which of the jokes he 
has heard is the worst, and the person who perpetrated the latter must 
take his place. Thus the game continues. 


If the party is a large one ask five young gentlemen (bachelors of 
course) if they desire to impersonate blind slaves and will allow them- 
selves to be dressed for that purpose. When you have the five victims, 
ask four ladies to assist you in the preparations. 

You then seat the gentlemen in a row behind some sliding doors 
and securely blindfold thern. Next you require thein to make fists of 


t^eir right hands and rest them on their left elbows in an easy and rest- 
ful position. Then, with a bit of charcoal, draw eyes nose and mouth 
on the back of each fist. "When this is done, dress the right arm of each 
gentleman with white aprons, tiny shawls, napkins and articles of that des- 
cription in such a way as to make it appear to be a very small infant, 
the fist being the head, and having a hood around it. When the doors 
are thrown open the scene of five bachelors tenderly holding* five babes 
will be greeted with roars of laughter. When these have somewhat 
subsided remove the bandages from the eyes of the blind slaves. Their 
astonishment .will be immense, and hardly less ludicrous than their 
former innocence. 


The game is started by one of the company tossing a ball to another 
calling out one of the three words "earth," "air" or "water," and the 
person catching the ball must call out the name of some animal inhabit- 
ing the element called before the ball reaches his or her hand. For in- 
stance, if "air" be called, the person to whom the ball is thrown must 
call out "eagle," "hawk," or "butterfly" or other bird, before the ball 
lands, or pay a forfeit. "Fire" may be called, in which case the person 
catching the ball must remain silent. 


A list of some ways of redeeming them, which may be found 

1. Kneel to the wittiest, bow to the prettiest, and kiss the one you 
love best. 

2. Take (here mention the name of the stoutest lady present) up 
stairs and bring her down on a feather. [He brings down the word 
" her," written on a slip of paper, bearing it on a f eather.j 

3. Say five flattering things to some one, using the letter 1 in each. 
(Other letters may be substituted.) 

4. Keep a serious face for two minutes, no matter what the rest of 
the company does. 

5. Stand upon a handkerchief with one of the opposite sex with- 
out touching each other. (This disposes of two forfeits at once, and is 
done in this manner: A handkerchief is placed underneath the door, 
and one stands on each side of the door.) 


6. Play the Dumb Orator. (This is done by reciting inwardly 
some selection, and making all the necessary gestures, but letting no 
sound escape your lips.) 

7. Pose as a statue in the way desired by each. (The poser must 
mount a box and stand in the different positions required by the rest, 
each one devising some new position.) 

8. Repeat five times rapidly: "Willy Wite and wife went a voyage 
to Winsor and West Wickham one Witsun Wednesday. 

9. Stand in the middle of the room and make a very woeful face 
for one ininute. 

10. Kiss yourself in the looking glass. 

11. Count twenty- five backwards, at the same time holding a book 
and turning the leaves from one to twenty-five as you count. 

12. Imitate without laughing the voices of five animals which your 
companions name. 

13. The one who pays the forfeit stands with her back to another 
who makes signs indicating a kiss, a pinch, and a cuff on the ear, and 
when the former is asked which is wanted, the first, second or third, 
whatever is chosen must be given. 

14. When forfeits have become tiresome all the balance may be re- 
deemed at once by requiring the balance to perform a cat's concert: — 
All singing at once, as if in chorus, but each singing a different song. 


" There is no article of underwear that women are so particular and 
fussy about as a corset," said the forewoman in the corset department of 
a fashionable store. " And really there is no other that they have a bet- 
ter right to be particular about, for a nice, easy, good-fitting corset is a 
joy forever, and the reverse is enough to try the temper of a saint." 

" What do you think of the effect of corset- wearing on the health?" 
asked the reporter. 

" Corsets, when worn sensibly, are certainly a great convenience and 
comfort. Indeed, there are but few ladies who know how to get along 
without them in some form or shape. There are, to be sure, some 
ladies who do not wear corsets, and never have worn them; but I think 
this is often quite as much affectation on their pai't as on the part of 
others who, through ignorance and vanity, are addicted to tight lacing. 
At all events, I don't see how a stylish woman could once know the real 


support afforded by an easy but perfectly fitting pair of stays, and then 
relinquisb them willingly. With stout women especially corsets are a 
great comfort. They render one insensible to the skirt-bands, which 
otherwise cut into the flesh. They tend to brace up the bust, support 
and gird up the waist all round from the arm-pits to the hips, and down 
over the hips, and by the busk, or corset-board, to hold down and 
shield the embonpoint. But then fleshy women are naturally more 
tempted to tight lacing than any others, so that, after all, those whom 
sensible corsets are most apt to benefit are just the ones most likely to 
suffer from an abuse of the system. Tight lacing, however, is fast 
disappearing, in this country at least, and is due very largely to the 
new departure in corset making as shown in Ball's Corset, which, by its 
coiled spring elastic section, enables the wearer to obtain the most per- 
fect fitting corset imaginable, and yet be entirely free from the harmful 
pressure of the rigid corset, and, in my opinion, needs only a trial to be 
worn by every lady in our land." 

" Does not the whalebone or French horn used in corsets gener- 
ally break before corsets are worn any length of time ? " 

" Yes," replied the forewoman, "that has always been the com- 
plaint, but that has been obviated by the new boning material, called 
KABO, used by the Chicago Corset Co. in the manufacture of Ball's 
Corsets. The Kabo does not break or roll up in wear, and in conse- 
quence the corsets give better satisfaction and last longer than those 
boned with any other material." 


As long ago as the days of the Greeks and Romans, a slight elancet 
figure was admired, and stoutness looked upon as a deformity. Martial 
ridiculed fat women, and Ovid put large waists in the first rank of his 
remedies against love. Several remedies were tried then as now, not 
only to restrain an expanding figure, but to enhance the beauties of a 
very slight one. But they were of a different kind from those with 
which we are familiar. Bandages were worn with the generic name of 
.fasciae mamillares. These consisted of the strophium, the cloth worn 
around the bosom, the tenia, a simple band below, and the zona, or 
waist-belt. '^ When bandages failed, those who valued the beauty of their 
figures had recourse to a remedy prescribed by Serenus Sammonicus. 
They enveloped their busts with garlands of ivy, which were thrown 


on the fire as soon as withdrawn, and afterward rubbed all the 
upper part of their figures either with goose fat mixed with warm milk 
or with an egg of a partridge. Men were as vain as the women, if we 
are to believe Aristophanes and other writers. The great comic drama- 
tist mocked his contemporary Cinesas for wearing busks of linden- 
wood ; and Capitolinus, in his biography of the Emperor Anthony, 
mentions that he also had recourse to them to compress his swelling 
figure. Testimony is conflicting, however. Some contend that the 
ancients wore veritable corsets, arguing that when Homer, in describ- 
ing Juno's toilet when she wishes to captivate Jupiter, speaks of the 
two girdles worn around her waist — the one bordered with gold fringe, 
the other borrowed from Venus — he was really describing a Greek cor- 
set, and that the egide or cuirass of Minerva which Virgil describes is 
to be interpreted in the same manner. But this view is surely mis- 
taken, for no monument of antiquity, no artistic work, no evidence 
gleaned from other sources, point to the use of stiff, unyielding whale- 
bone corsets. — London World. 


An inquest was recently held on the body of a widow at Padding- 
ton, England. Owing to tight lacing the stomach had become so con- 
tracted at the centre as to present the appearance of an upper and lower 
one. Death had been caused by syncope. The Coroner stated that four 
or five other deaths recently investigated had been caused by tight 

Tell a person to think of a number, for instance 6; multiply by 3, 
18; add 1, 19; multiply by 3, 57; add to this the number thought of, 63. 
Tb,en tell you what is the number produced; it will always end with 3. 
Strke off the 3, and you know that he thought of 6. 

A school teacher being asked how many pupils he had, answered: 
"One-half study mathematics, one-fourth natural philosophy, one-seventh 
preserve silence, and there are three females besides." From this 
aHswer the number of his pupils can be ascertained — &8. 






This Corset possesses the same coiled spring elastic side sections 
as our Health Preserving Corset No. 1, and is more desirable for those 
ladies who prefer a short Corset under the arms, it being cut away from 
over the hips, as shown in the above cut. Ladies who, for any reason, 
prefer this pattern of Corset, will find this the best and most satisfac- 
tory one in the market. 

Made in white and drab satteen jean. Sizes 18 to 36. 

Testimony of Madame EMMA STEINBAOH, the Famous 
■ • Alto. 

Palmer House, Chicago, April 18, 1885. 
My Dear Sirs : My best thanks for your excellent and comforta- 
ble Corset. It is a beauty of workmanship. Yours, 


Testimony of Madame ROSINA OARAOOIOLO, of the 
Mapleson Opera Co. 
.The Grand Pacific Hotel, John B. Drake & Co., Proprietors, 
Chicago, April 18, 1885. — Gentlemen : My gratitude and testimonial of 
satisfaction for your Corset. It is a pleasure for me to state that it is 
excellent, especially for its close fitting without discomfort, at the same 
time permitting the natural movements of the body. I recommend it 
to all, and remain, very truly yours, 


Testimony of Madame FURSCH-MADI, tlie Prima Donna. 











John Spofford, a crusty old man. 
Blackburne Snoggs, a penniless lawyer. 
Henry Ayres, a young gentleman. 

Virginia Almira Spofford, a spinster with, a small fortune, sister 
of John Spofford. 

Jeannette Spofford, daughter of John Spofford. 

J^ote. — Snoggs and Virginia should not be burlesqued, but should 
be acted as comedy characters. 

Scene : A room in Spofford's house. As the curtain rises Virginia 
and^Jeannette are discovered sewing and talking over their work. 

Vir. — Yes, Nettie, I have traveled far and seen much, but have 
never discovered so obstreperous an animal as an Alpine mule. The 
one I rode frightened me more than any thing has done since I was in 
my teens. 

Jean, (slyly) — That was a long time ago. 

Vir. — Oh, yes, indeed, laugh at me for saying so, but you should 
try to ride him ! His owner called him Kabo. 

Jean. — Kabo ! "What a curious name. Why did he call him so ? 

Vir. — He says he calls him Kabo because it is impossible to break 
him, you cannot wear him out, and he makes a good stay whenever he 
chooses. I soon discovered that he was right. That animal preferred 
the brink of a precipice to a broad path every time. He would make 
such sharp turns that I nearly fell from his back a dozen times while 
we were upon the mountain, and when we came down he was so 
anxious to get home that he determined to get rid of his rider, and sent 
me flying over his head. I landed in the lake ! 


Jean. — Landed ! 

Yir. — No ; not exactly landed, because I went down, and had it 
not been for Snoggs 

Jean. — I see ; he pulled you out. But how did Snoggs happen to 
be in Switzerland ? I thought he did not have enough money to sup- 
port him here. 

Vir. — That was before his aunt rejected him. He is in want now, 
but, though poor, he is a gentleman still. (Puts her hand to her heart 
and sighs.) 

Enter Snoggs. 

Jean. — Here he is. Mr. Snoggs, we were just speaking of you. 

Snoggs — Thank you. (Sighs.) 

Jean. — Why do you sigh ? 

Snoggs — I was thinking that before my elbows stuck out of my 
coat many ladies, Miss Jeannette, sometimes thought of me. But now— 
(He glances ruefully at the hat in Ma hand and sticks his finger through 
a hole in the crown.) 

Vir. — Mr. Snoggs (sniffling), don't talk so. (She walks toward him 
holding her handkerchief to her eyes.) 

Jean. — Aunt is going to make love to him. I'll bring Harry, and 
we will peep through the door. Here's fun, (Exit.) 

Vir. — Mr. Snoggs, since the day you saved me from a watery 

Snoggs — What watery grave ? 

Vir. — In Switzerland. Have you forgotten ? 

Snoggs (trying to suppress a laugh) — No ; I'll never forget that. 
Donkey — ^bray — kick — whizz — splash— scream — ha, ha. (Aside.) She 
thinks I saved her life. The water wasn't deep enough to drown a bag 
of puppies. 

Vir. — I knew you would not forget it. You rescued me (sighs), 
my preserver. 

Snoggs (aside)— She wasn't fairly ducked. (To Vir.) Yes, I fished 
you out. (Aside.) I think she is trying to fish me in. (To Vir.) 
Vicious mule. 

Vir. — Yes ; Kabo was vicious, 

Snoggs — Kabo ! (Aside.) Ayres calls me Kabo. He tells me it is 
because I have so much elasticity and tenacity, but I see he has named 
me after a donkey. Alas, how my friends despise me now ! (Sighs.) 


Vir. — Why do you sigh ? 

Snoggs — How can I tell you ? 

Vir. — There is no need of telling me. I can read it in your eyes 
(ecstatically). Oh, Blackburne ! (Throws herself into his arms.) 

Snoggs (aside) — Deuce take it, here's a scrape. I wonder if there's 
a hole to get out. (He edges toward the door, but hears a suppressed 
laugh and retreats from it.) 

Vir. — Oh, Blackburne, I am so happy. (Eemains in Snoggs' un- 
willing embrace, when the door opens and Jeannette and Ayres enter.) 

Apres — Aha, Kabo, I've caught you. 

Snoggs — Don't call me Kabo. (Aside.) What a pickle I'm in. 

Ayres — Kabo is all right. It's good corset material, (Points to 
Snoggs' arms around Virginia's waist. 

Jean. — Of cors-et is. 

Snoggs looses himself from Virginia and bolts from the room, 
leaving his hat on the floor. Virginia follows. 

Enter John Spofford. 

Spof.— What's the row ? 

Ai/res — Snoggs has been proposing to Miss Virginia. 

Spof.— The old fool. 

Jean. — I think it must have been Aunt Virginia that proposed 
to him. 

Spof.— The old fooless. 

Jean. — Papa, do not be so hard on them. Perhaps they love each 

Spof. — Love nothing. Bah ! They make me sick. I think I'll go 
out and have something. 

Ayres (detaining him) — But, Mr. Spofford, you should not lose 
sight of the advantages of such a union. Virginia would get what she 
has been longing for many years — a husband ; and Snoggs what he 
most needs — money. 

Spof. — Virginia has just one thousand dollars in her fortune. Do 
you call that money ? Fiddlesticks ! 

Ayres — It is all that Snoggs needs. He has ability, and I would be 
willing to back him against any lawyer in the town if he only had a 
suit of clothes and a month's victuals. He has been unfortunate, but 
with a thousand dollars he will rise again, 


Spof. — Come out and take something with me. (Exit with Ayres, 
followed by Jeannette.) 

Enter Snoggs. Endeavors to seize his hat and escape, but encounters 
Jeannette at the door. 

Jeannette — Mr. Snoggs, do not be offended at Harry. Of course, 
he is fond of fun, but he means well by you. He is urging papa at 
this moment to give his consent to your marriage with Virginia. 

Snoggs — Lord preserve me — ^but I don't want to marry Virginia. 

Jeannette — Yes you do, I saw you have your arms around her. 
But perhaps it is only her fortune you crave. 

Snoggs — Her fortune ? 

Jeannette — Yes, her fortune. She has a thousand dollars. 

Snoggs — A thousand dollars (with a gulp). 

Exit Jeannette. Snoggs stands meditating. Enter Virginia. 
When she sees Snoggs she turns her back to him. Snoggs sidles up to 

Snoggs — Virginia. 

(Virginia shrugs her shoulders.) 
Snoggs— 1 say, Virginia. (Pokes her with his finger, but receives 
no answer). Virgy, my darling. 
Vir. — "Well, what is it ? 
Snoggs — Come to my arms ! 
Vir. — Oh, Blackburne. (They embrace.) 

Enter Jeannette, Ayres and Spoppokd, the latter slightly tipsy, 
carrying a bottle. 

Ayres — Whoa, Kabo ! 

Spof. — I say, Znoggz, take zomething with me. 

Snoggs— Thaxiks,, brother, for brother you will soon be. Allow me 
to present my bride. 

Spof. — Thatz juzt what I've come in to talk about. You zee 
Harry here and myzelf have been talking it ovor. And Harry zayz, 
zayz he, here's Znoggz, zayz he (takes drink out of bottle) — Znoggz — 
zayz you — come and take something. 

Ayres — Old man, you are getting pretty full. I think it is time to 
draw the curtain, 





Mrs. Winter, a lady ol decided opinions. 

Fanny Winter, her daughter. 

Dr. Swartzbrod, a German physician. 

Geoffrey Bantam, a dry-goods clerk, Fanny's betrothed. 

Betsy Ann, the housemaid. 

Note. — The broken English of the doctor and the dudish lisp of 
Bantam should be supplied by the persons acting the parts. 

Scene :— Mrs. Winter's Parlor. 

As the curtain rises Mrs. Winter is discovered unwrapping a pack- 
age containing two long boxes. She makes a gesture ol impatience. 

Mrs. Winter. — Well, I declare, this is aggravating. Now that 
young Bantam, on some occasions, shows rare good sense, but he is like 
all the rest of them, and flies ofi the handle if you don't hold him. 
When I expressly order Pinch's Corset he sends me a new fangled one 
that I have never tried. It is too provoking for anything ! I shall send 
them back. Oh, Geoffrey Bantam, I'll let you know whose daughter 
you are going to marry. There are many things I intend to teach you 
when you and Fanny are married, and I might as well begin now. 


Fanny. — Why ma, you look angry — what has happened? 
Mrs. W. — Why it's that young Bantam. If he'd stick a few feathers 
in his head no one would be able to tell the difference between him and 
his namesake in the back yard, who only opens his mouth to say kick- 
riki. I ordered Pinch's Corsets for us — and here is what he sent. 

Fanny. — (Reads label) — Ball's Health Preserving Corset. — But 
mamma, judging from the advertisements these appear to be good. We 
had better try them. 

Mrs. W. Advertisements fudge. But what ails you? You 

look tired. 

Fanny. — I am suflering from a lame back, and my sides ache. I 
felt so unwell that I sent for Dr. Swartzbrod. 


B. A. — (Announcing) Dr. Swartzbrod. (Exit). 



Dr. 8. — ChiUntag Madame, it pleases me much you so well to see. 
Miss Fanny has for me sent. You not so well, Miss Fanny ? 
Fanny. — No, doctor. 


B. A. — (Announcing) Mr. Bantam. (Aside) Come to see Miss Fanny, 


Fanny. — Oh, JefE ! I am so glad to see you. 

Oeoff. — My dear Fanny. 

Mrs. W. — That will do. Save some of that hugging until a year 
after you are married. It will be scarcer then and more appreciated. 

Dr. S. — Ach, my dear Madame, a year after they married are is 
love-making one humbug ! 

(Fanny goes to the doctor and engages him in conversation, while 
Mrs. W. beckons Bantam and points menacingly at the table. B. ap- 
proaches tremblingly.) 

Ban. — Wh — what is it ? 

Mrs. W. — Didn't I say I wanted Pinch's Corset ? 

Bant. — Y — yes, ma'am. But — 

Mrs. W.—Bwi what? 

Bant. — But you said they were uncomfortable, and had defects, and 
so — and so — 

Dr. 8. — When I in the university was, and hunger had, drew I a 
sausage on a slate. Then fetched I myself a pint beer and slice bread. 
Then wiped I a piece sausage away, ate a piece bread and drank a swallow 
beer. Then drank I another swallow beer, ate another piece bread and 
wiped another piece sausage away. When I through was, I pictured 
myself in that I a sausage ate to my slice bread and pint beer. So it is 
with you. You get one new corset and wear it one time; you feel 
compressed everywhere. You wear it one time again and it feels not 
so bad. You wear it until it what you call broken in is. Then 
you say it fit. But it fits no more as I ate sausage. The corset has not 
adjusted itself to your shape, but your shape itself has adjusted to the 
corset. If you always sometimes would not wear it, your health would 
be better. 

Fanny — But, Doctor, it is impossible not to wear a corset at all 
tjme§. Canaot health be maintained without sacrificing the corset. 


Geof.B. — Why yes, Fanny; as I was about to remark to your m — 

Dr. 8. — (Interrupting) There is one corset — only one — no more — 
that does not in the same way act. My notice to it was called by testi- 
monials from doctors who are all over known. 

Bant. — Yes, Doctor, as I was about to remark to Mrs. W 

Dr. 8. — (interrupting) — This corset the first time fits. It no break- 
ing in needs, and it to the movements of the body yields. 

Fanny — And that corset is? 

Bant. — I am sure it can be no other than 

Dr. 8. — (Interrupting) — That is called Ball's Health Preserving 

Bant.— Now, Mrs. W 

Dr. 8. — (Interrupting) — ^Ah, I see you have already some bought 
It is like the proverb, speak of corsets and you hear the snapping of 
the whalebones. 

Bant. — But, Doctor 

Dr. 8. — (Interrupting) — Only, you know, these no whale-bones 
have. They Kabo-boned are. Kabo don't snap. 

Enter Betsy Ann. 

Bant. — Just so. Doctor, and I may add 

Dr. 8. — (Interrupting again, and eyeing him savagely. While the 
Doctor is talking, Bantam retreats under his glance, until he runs into 
Betsy Ann, who handles him roughly)— Now Mr. Bantam, if you will_ 
let me say one single word — only one word. You have had your say, 
let me a word in get. (To Mrs. W.) I want to on you urge always to 
wear these corsets — both you and Miss Fanny, and you both as healthy 
will be as that (pointing to Betsy Ann). 

Bant. — Yes, as healthy as that (pointing to Betsy Ann). 

B. A. — (Goes up to Bantam) As what (shakes her fist under his 
nose. He retires behind Fanny.) 

Dr. 8. — Ha, ha. Fraulein, what corset you wear. 

(B. A. bashfully puts her hands to her face and titters.) 

Fanny — Do not blush for Jeff 's sake. 

B. A. — No, indeed, I'm not blushing for his sake — its for my own 
sake. — If he calls me that again, I'll fix him so Ae'ZZhave to wear corsets. 
(Then in a very loud whisper to Mrs. W.) I wear Ball's Corsets. 

Mrs. W. — JefE, I was going to rate you severely, but I'll postpone 


it for a while. The next opportunity I have I shall make up for letting 
you off so easily this time. 

B. ^.— {Aside) You bet, (Aloud) Me too. 


Among the most enjoyable of parlor entertainments are chai'ades. 
They ofEer splendid opportunity for the exercise of the wits and are apt 
to create fun for all concerned. They may be acted either as panto- 
mines or as short dialogues. If words are used, care should be taken to 
use the word intended to be guessed as little as possible and only in such 
connections where it will not be noticed particularly. 

We give below some words which may be used for acting char- 
ades, together with some hints for their proper presentation: 

Petticoat. — Pet — May be represented by bringing a small child 
upon the stage, very much caressed and very much spoiled. Or, if a par- 
rot or other animal is handy, it can be brought in to good advantage. 

Tie — A lady tying a gentleman's necktie or making a great fuss 
about tying up a bundle, will convey this syllable. 

Coat — A gentleman who has a very dilapidated coat trying to get it 
mended, or a conversation about a coat of paint. 

The full word may be illustrated by a lady in costume, or, if words 
are used, by an angry dispute between a supposed husband and wife, 
opened by his declaring that he does not propose to submit to petticoat 

Bridewell — Bride — A mock marriage ceremony in which the 
bride is of course the central figure, or a dialogue between a newly mar- 
ried couple in which the bride shows her teeth and worsts her better 

Well— A. representation of the Biblical legend of Rebecca at the 
well, or a farcical talk about a well. 

The whole word can be illustrated by bringing in a prisoner in 
chains and assigning him his place on a bench and giving him a shoe 
on which he must go to work as if soling it. 

Dynamite — Die — A death-bed scene, or conversation relating to 
death — do not make this too somber, as it may aAvake memories in the 
breasts of some. 


Nay — A comic^ove scene in wMdi tlie lady refuses the hand of a 

Mite — ^A beggar receiving alms, or a bit of some article good to eat 
given to some one apparently very hungry. 

The whole word. — Bring in a foot-ball with a piece of lamp-wick 
in the vent hole and make a great ado about lighting and bursting it. 

Dumb-Waitek. — This can be represented only with dialogue. 

Dumb — A stupid boy who is being taught something and is not able 
to comprehend what is said. 

Waiter — A tray can be brought in incidentally in a conversation. 

The whole word may be laughably illustrated by a foolish waiter 
who makes all sorts of mistakes. 


When pantomimes are in order everybody is prepared to laugh, 
and it is important to have everything of as huge and grotesque a pat- 
tern as it is possible to make it. Such things as scissors, razors, knives, 
saws, and other articles of that description must be monstrosities 
and can be made of straw or card-board, painted gray, to resemble 
steel. There are other things which should be made exceedingly small, 
such as drums, trumpets, hand carts and other articles used by small 
boys in play. The rule generally is to go to the other extreme — making 
small articles large and large articles small. Articles of wear that fit 
are out of place in a pantomime; a hat must be either ridicul-ously 
small or large; the same may be said of parasols, overcoats and shoes. 
It is not necessary to give other general instructions than these, because 
pantomimes are all the more laughable if ridiculous blunders are made. 

We give a few which may be acted with great effect: 


The scene discloses what purports to be a doctor's office. The 
doctor sits in his dressing-gown and paints a sign, " Boy Wanted," on a 
card and goes outside th& door with it. Immediately after he returns a 
woman and an over-grown boy appear. The boy's pantaloons are not 
nearly long enough and his sleeves pinch him very much. He is suck- 
ing a large stick of candy. The doctor does not appear to like the 'boj, 
but the woman gesticulates^vioiently, shakes first her finger and then 
her fists at the doctor, who finally appears cowed and accepts the boy. 


The woman goes out. The doctor hands the boy « feather duster, inti- 
mating that he should dust the articles in the room, and takes up a 
book. He looks up and finds the boy still sucking his candy. Takes 
candy away, throws it into cuspidore, and makes the boy start dusting. 
Then he resumes his reading. As soon as his back is turned the boy 
picks candy from cuspidore and begins eating again. Doctor looks up, 
siezes candy and throws it out of doors. Boy cries. Doctor cuffs his 
ears and makes him go to work. He resumes his reading. Boy 
brushes some things, including book in doctor's hands, doctor's face and 
the back of his head. When he dusts a cupboard or shelf he takes a 
bottle with a large " poison " label upon it, examines it gleefully, takes 
out cork and sips a little. He is immediately convulsed, and cries " Ow! 
owl ow!" Woman rushes in, doctor sees label on bottle and rushes 
out. Returns with an umbrella. Woman takes a knife from a box on 
the table and viciously approaches the doctor. Boy falls to the floor. 
Doctor points to the bottle and the woman tears her hair in dismay. 
Doctor goes to the boy and sticks end of umbrella in his mouth and 
opens and shuts it several times rapidly, in imitation of a stomach 
pump. Boy rises. They all join in a three-handed embrace. Curtain. 


The scene represents an old lady in a corner sound asleep. In the 
foreground are a young lady and gentleman evidently very spoony, but 
whenever the youth tries to put his arm around the maiden's waist the 
old lady snorts and opens her eyes. An idea seems to strike the youth. 
He goes out and returns immediately with a bundle of clothes. He 
stands one chair upon another immediately before the old lady and 
covers them with clothes so as to completely obstruct her view. As he 
is about to resume his former place a small boy comes in, whose face 
lights up with joy when he sees the backs of the two lovers. He takes 
from his pocket a paper ball tied to a string, and, hiding behind the 
covered chairs, he pesters the ardent swain with the ball, until the latter 
jumps up furiously and rushes behind the chairs. The boy, however, 
runs around them and manages to escape being seen. He then resumes 
his seat beside the bashfvil girl, who has not dared to look up during all 
this time, but he continually looks up furtively, evidently expecting 
another attack. The boy peeps out, throws his ball, but is discovered 
by the youth. Boy runs, but is followed closely. Boy steps upon the 
old lady's toe, who jumps up and violently boxes the ears of the young 


man, -who, coining after the boy, got there just in time to receive her 
cuffs. The young man assumes a highly indignant air, stalks out of the 
room, returns with his hat in hand, and, with a stately bow, retires. 
The maiden begins to cry and gesticulates violently before her mother, 
intimating that she had driven him away. Old lady looks horror-stricken 
for a few moments, but, seeing the boy, she pounces upon him, and both 
of the ladies chastise him severely. The boy bawls loudly, and the cur- 
tain drops upon the pathetic scene. 


Several tables are spread and people may be eating at them or not, 
whichever is convenient. A pompous-looking man comes in and sits 
down at one of the tables. A shuffling waiter, who is constantly stumb- 
ling against things and dropping his tray, sidles up to him and puts his 
ear near the man's mouth. He evidently gets the order and disappears. 
The man takes up a bottle from the table, uncorks it, and smells its 
contents. He is seized with a violent fit of sneezing, "Waiter comes in 
with tray and plates, running against the sneezing head, drops his tray 
and dishes, and rushes out again in time to escape a vigorous kick 
aimed at him by the man^ who shakes his fist after him, and then picks 
up the dishes. The waiter reappears with a bowl of soup, and, timidly 
approaching, gets it down on the table safely and escapes. The man is 
about to eat when he suddenly throws down his spoon and beckons 
viciously for the waiter. The latter approaches very much scared. The 
man pulls a long hair out of the soup. (The hair should be thread, so 
that the audience can see it.) The waiter appears dismayed, rushes out 
and returns with the cook, who has her sleeves rolled up and carries a 
soup ladle. When she sees the hair, she shakes her head, denying that 
it was hers. A lady, evidently the proprietress, comes up and appears 
to insist that it is the cook's hair. The man, proprietress and cook begin 
gesticulating violently and pounding with their fists upon the table. The 
waiter attempts to put in an oar, but is silenced by the cook, who hits 
him in the eye with the ladle. When the row is at its height, a girl 
with her sleeves rolled up appears, dressed like a second girl in a 
kitchen, and, taking the hair, compares it with her own, to the satisfac- 
tion of all, especially the man who discovered it, who smiles and throws 
kisses at her as the curtain goes down. 



What is more beautiful to look upon than a finely-formed, well 
dressed and graceful woman. She fiits before you, a model of grace 
and beauty, and when she is gone you feel as if you were better for hav- 
ing been in her presence. 

You grumblers that cannot find beauty in anything, just visit the 
Fashion skating rink and watch the beautiful creatures (the ladies, I 
mean) as they glide over the polished floor. It seems as if they were 
floating through space on fairy wings ; their every move is grace ; and 
after looking upon this acene, if you do not say there is grace and beauty 
combined, you ought to be deprived of ever associating with the fair 

It is the duty of every lady to appear to the best advantage possi- 
ble, and in order to do this she must be well dressed. No dress can fit 
perfectly unless she wear a corset. It has been a problem for a long 
time what corset to buy that will add grace and beauty to the form 
without injury to the wearer. The Chicago Corset Co. have overcome 
this difliculty by inventing their Ball's Coiled Wire Spring Elastic Sec- 
tion Corset. — Herald. 


A tourist on the Mississippi listened to the complaints of a moun- 
taineer about hard times for ten or fifteen minutes, and then said : 

"Why, man, you ought to get rich shipping green corn to the north- 
ern market." 

"Yes, I orter," was the reply. 

"You have the land, I suppose, and can get the seed?" 


"Then why don't you go into the speculation?" 

" No use, stranger," replied the native; " my wife's too lazy to do 
the plowin' and plantin'." 

A well-known brother of the press remarks in a. recent issue: " It 
is not our fault that we are red-headed and small, and the next time 
one of those overgrown rural roosters in a ball-room reaches down for 
my head, and suggests that some one has lost a rose-bud out of his but- 
ton-hole, there will be trouble." 





This Corset is made extra long, fourteen and a half inch heavy- 
front steels being used, and heavy material throughout. In the larger 
sizes it is especially adapted to stout ladies who desire a long front, 
substantial Corset, and in the smaller sizes, to those who wish a long 
Corset. The elastic section extends from the bottom about half way to 
the top, as shown in the cut, and affords an easy and comfortable ab- 
dominal support. The abdominal fullness in this Corset is graded 
according to the size of the Corset, which adapts it successfully to the 
wants of both stout and tall, slender ladies who wish a long Corset. It 
need only to be worn to be appreciated. 

Made from extra heavy satteen jean, sizes 19 to 36. 

New Haven, Conn., Nov. 2, 1881. 
I have examined Ball's Health Corset, and have no hesitation 
in saying that it is in my opinion, the best I have ever seen. I can not 
see how, with one of these corsets, it will be possible to practice tight 
lacing. If you can succeed in bringing it into general use, yo« will 
confer a greet blessing on the females of our country. 

Very truly yours, P. A. JEWETT, M.D. 






Ball's Extra Long Corset is similar in construction to our Health 
Preserving, but is considerably longer and has five hook steels. It will 
meet the vpants of those who prefer a long-waisted Corset. 

Made in white and drab satteen jean, in sizes from 18 to 36. 

Testimony of Madame SCALCHI, the World-Renowned 


The Grand Pacific Hotel, John B. Drake & Co., Proprietors, 
Chicago, April 18th, 1885. — Bear Sir : The Ball Corset you had the 
kindness to send me deserves so high praise that I wish be able to ex- 
press myself in your language better than I can do. Please accept my 
thanks for it, and believe me, Yours truly, 



Parlor Magic. 

In this department the aim will be, not so much to explain or teach 
the marvelous sleight of hand performances that we wonder at when we 
see them done by skilful conjurers, but rather to illustrate some inno- 
cent deception which can be performed without expense, at any gather- 
ing, and with the aid of only such materials as are always found in a 
household. For instance, every house contains at least one pack of 
cards; and the niunberless tricks which may be performed with this 
pack of cards will be found a source of endless amusement. We append 
a few, which, with a little ingenuity on the part of the performer, may 
be varied so as to appear new each time they are attempted : 


Turn upside down the card at the bottom of the pack. Then re- 
quest that a card be drawn, and after it is drawn, unobserved by anyone 
turn the pack upside down. When the card is replaced you turn your 
back to the audience, run through the pack, and the one turned wrong 
is the drawn card. 

Another way of performing this trick is to cut off a very small por- 
tion of one end of a pack of cards, just enough to make a difference in 
the margin discernable. Then having the small margins all turned one 
way, you shuffle the pack and allow one to be drawn. Quickly reverse 
the pack in your hands; when the card is replaced, the small margin is 
not on the same side with the others and you can easily single it out. 


Take twenty-one cards, spread them out, and ask some one to think 
of one of the cards and remember where you place it. Gathering up 
the cards you begin laying them out in three piles, one card at a time. 
When they are all laid out ask in which pile the card thought of is. 
When told gather up the three piles, with the pile containing that card 


between the other two. Do this three times. Then count from either 
end of the pack ni) to the eleventh card, v/hich will be the one you are 


Persons who wish to become skilful in the manipulation of cards 
must practice a great deal and learn to be quick in their movements, 
although sleight-of-hand consists more in diverting the attention of an 
audience than the quick movements. After some practice they will 
find the accomplishments of " palming" a card, " making a pass," forc- 
ing " a card, making a false shuffle, and " sighting " a card, of great 

To palm a card: Take the card up in the palm of the hand by 
slightly bending it, and inserting one corner immediately below the 
ball of the thumb, while the corner diagonally opposite from it should 
be held between the third and little finger. The bend of the hand 
should be a natural one, so that the audience does not notice that you 
are concealing something in it. 

To force a card: In asking persons to select a card from a pack it 
is often desirable that they should take one which you must force upon 
them. Push the one you wish to force a little beyond the rest when 
holding out the pack spread out. Most people will take the handiest 
card and you will have no difficvlty. Sometimes the person drawing 
does'not reach for the one you have pushed out. It is then that your 
skill in forcing is brought to a test. You must divert his attention 
while he is drawing, and, in place of the one he thinks he is taking, 
you must push the forced card into his hand; or you can quickly trans- 
pose the position of the cards, when he is apt to refuse the one he had 
reached for and take the card you wish him to take. If the person 
drawing is very persistent, however, in refusing the forced card, throw 
up the pack on some pretext and pass him by. Forcing is difficult 
sometimes even for experts. 

To make a pass: It is very easy to get a glimpse of the card at the 
bottom of the pack; therefore, to be able to remove it and place it in 
another part of the pack unobserved often makes a difficult trick an 
easy one. 

To make a false shuffle: This is done best by actually shuffling a 


small portion of the pack, always taking care that the part which is not 
to be shuflBed is held firm between the fingers. 

To sight a card: Your ability to sight a card will, of course, dc^ 
pend somewhat upon the watchfulness of the others. If you have a 
chance to take the card in the hand you can almost always, by a quick 
movement, tilt it so that the face is visible for an instant. 


The court cards almost invariably have a little more margin on one 
side than the other. Lay out four cards with the large margins all 
turned the same way, and then ask some one to turn around one of the 
cards while you are out, announcing that you can go out of the room 
and yet be able to show which card has been turned around. When 
you come back if the large margin on one of the cards is not on the 
same side as the others you know it has been turned around. If you 
repeat the trick do not turn around this card, as that will perhaps be 
noticed, but carefully observe the position the cards are in, and detect 
the turned one as before. Though simple, this trick is very perplexing 
to the uninitiated. 


Take a sentence of thirteen words and learn to associate each word 
with a card of a certain value. One like the following is easily learned: 

Seven regiments battled witli nine, when the king and eight thousand men arrived. 
7 10 3 6 9 5 3 king queen 8 ace knave 4 

Spreading out the pack you pick up the cards in this order, alternating 
the different suits. When yon have gathered the pack it can be cut an 
indefinite number of times, yet you will have the clew to the whole 
by simply taking up the top card. You can read off one after another 
through the entire deck without looking at another card, causing the ut- 
most surprise to the uninitiated. 


Take two cards and cut a notch at one end of each. Fasten the 
ends of a small broken rubber band in the notches, leaving enough be- 
tween the cards to admit of being stretched the full length of the 



cards. OfEer the pack to any one, and bid him draw a card and loolc at 
it. When he replaces the card you must have the pack opened in such 
a way that he will put it between the cards connected by the band. 
Force the card down and hold firmly so that no one will notice that it 
would pop up if not held that way. Then ask what card was drawn. 
The drawer says, for instance, " The ace of hearts." You then say, 
"Ace of hearts arise and show yourself," at the same time slightly 
loosen your pressure on the pack, and the ace of hearts will gracefully 
ascend until more than half of the card is above the pack. 


Cut out of card a miniature boomeiang about this size and shape: 



Rest it upon a book or other article which can be held in the hand, 
leaving everything to the right of a project from the .edge. Taking up 
the book, by giving the end b a sharp tap, the boomerang can be made to 
fly a long distance, when it will rise in the air and return, falling almost 
at the feet of the person who has sent it. 


Secure two pieces of ribbon of exactly the same size and color. 
Moisten one side of one of them and press against the palm of the hand. 
It will stick there and can easily be concealed by bending the hand a 
little. Then take the other and allow it to be torn into shreds and burned 


upon a plate. After the ribbon has been destroyed you take up the 
ashes and immerse in a bowl of water which has been examined by the 
audience. Then putting in your hand you draw forth the concealed 
ribbon, apparently restored by the action of the water. 


Put some powdered quick lime into a wine bottle nearly full of 
water and shake occasionally for a day or two. Then pour off the wa- 
ter from the sediment. This apparently pure water is as clear as any 
you would draw from a spring; but if blown into it becomes white as 
milk. Having your lime water in readiness you can announce to an 
audience that you have discovered a means of finding out which of the 
young ladies present are in love and which of them are not ; that you 
will provide each with a glass of water and a straw; if the water turns 
into milk upon being blown into, it is a sign that the blower has lost her 
heart, while it it remains clear she is still free to choose. A clever guess 
will enable you to hand out the lime water to parties whose blushes 
will subsequently establish the truth of the test, while to others you hand 
tumblers of pure water. This little trick can be played with startling 


Fill a bottle full of water or other liquid, and cork it so tightly that 
the bottom of the cork is flushed with the liquid. Wrap the bottle round 
the bottom with a thick cloth, and knock it against some immovable ob- 
ject. The motion of the liquid acting as a solid body should force out 
the cork. 


To puzzle an audience with what appears to be the power of " sec- 
ond sight " or clairvoyance, requires some skill, an accurate memory, 
and more or less practice. 

The favorite mode of procedure is to securely blindfold the person 
alleged to be possessed of this wonderful power, when a confederate 
goes among the audience taking articles from them at random and ask- 
ing the blindfolded person to describe them. 


This is done by means of what may be termed a cipher code adopted 
and studied beforehand. A few illustrations will suffice to make it 
clear. By studying the questions and answers given below it will Tje 
seen that the word printed in italics gives the cue to the distinctive pro- 
perties of the article while the general wording of the question informs 
the blindfolded person what the article is : 

What do I hold in my hand ? A. silver watch. 

What do I carry in my hand ? A gold watch. 

What do I hold in my hand now ? A silver watch and chain. 

What do I carry in my hand how ? A gold watch and chain. 

What do I carry now ? A gold locket and chain. 

Do you see what I carry in my hand ? Yes, it is a gold ring. 

What have I just taken wp ? A silk hat. 

What is this I have in my hand ? A small pen knife. 

What have I in my hand ? A glove. 

Of course the more experienced ones have a more elaborate code 
than the one illustrated above, but the principle is the same. Sometimes 
an article is given the person asking the questions which has not been 
thought of in preparing the code. In those cases it is best for him to 
devise some means of returning the object without questioning the 
blindfolded person, but if pressed to do so he can find some way of 
communicating with his confederate by means of a preconcerted rule. 
One of the favorite methods is to word the question so that the first 
letter of each word will spell the name of the object. For instance if a 
bottle is handed the questioner, he might say. ''That is a suspicious 
looking article to have about you, hut only to take little evenings will do 
no harm. What is it ? " He must slightly accent the words containing 
the cue, and be careful not to make a mistake. 


Tell the person who cast the dice to double the number of points 
upon one of them, and add 5 to it; then to multiply the sum produced 
by 5, and to add to the product the number of points upon the other 
die. This being done, desire him to tell you the amount, and having 
thrown out 25, the remainder will be a number consisting of two figures, 


the first of which, to the left, is the number of points on the first die, 
and the second figure, to the riglit, the number of the other. Thus : 

Suppose the number of points of the first die wliich comes up to 
be 2, and that of the other 8; then, if to 4, tlie double of the points of 
the first, there be added 5, and the sum produced, 9, be multiplied by 5, 
the product will be 45; to which, if 3, the number of points on the other 
die, be added, 48 will be produced, from which, if 25 be subtracted, 23 
will remain, the first figure of which is 2, the number of points on the 
first die, and the second figure, 3, the number on the other. 


This trick consists in making what appears to be a bag of coarse 
cloth, lined, but is in reality two bags, one inside of the other, sewed to- 
gether at the top. At the bottom of the inner bag, pockets should be 
made which can be reached through slits in the cloth. Fill these pock- 
ets with eggs (hollow ones are best). You turn the bag inside out sev- 
eral times to convince everyone that there is nothing in the bag. Then 
announce that you will manufacture an egg by simply blowing into the 
bag. Blow in and take out an egg from one of the pockets, to the 
amazement of the audience. Much fun can be had out of som.e one in 
the audience, by providing yourself with a very small egg in one of the 
pockets. You ask the person selected to try his hand at blowing, and 
see if he can make an egg. After he has blown, you look into the bag 
and declare that he hasn't blown hard enough, and ask him to blow 
again. He will blow harder. Still insist that he must blow harder. 
When he has fairly blown his lungs out and the audience is convulsed 
with laughter at his antics, insert your hand in the bag and draw out the 
small e§g, and congratulate him on his first attempt at manufacturing 
eggs, assuring him that in the course of time he will be able to produce 
a size more apt to command a ready sale. 


An audience can often be astonished by what appears to be burning 
ice or water. By making a hole in a cake of ice and pouring in some 
spirits of camphor, the latter can be set fire to, and the impression cre- 
ated that the ice itself is burning. 

Sodium and potassium are chenaicals which will burn very brightly 


when they touch water or ice, but we would not recommend their use 
by any but experts, on account of tlieir disposition to splutter, which 
might result in the loss of an eyesight, if handled by a person who is 
not accustomed to them. 

A small taper can be burned for a few seconds under water in the 
following manner: Set it afloat on the water and light it. Then invert- 
ing a tumbler directly over it, you quickly plunge it beneath the 
water. The air in the tumbler will prevent the water from filling it and 
the taper can, for a few moments, be seen burning brightly, apparently 
surrounded by water. 


Quite a large amount of ribbon can be concealed in the mouth at a 
time by rolling up tightly. Have a roll as large as you can hide in 
readiness, and proceed to tell the audience that you have discarded the 
ordinary food which other people eat — ^that you have found something 
far more wholesome. Then bring in a lot of paper shavings. A book- 
binder can give you a few handfuls, which, when shaken up well, ap- 
pear to be an enormous pile. You begin to chew at them, taking every 
opportunity you can to withdraw what you have in your mouth and 
dropping them on the floor. The table at which you sit should have a 
cloth reaching down to the ground, so that everything back of it is con- 
cealed. By this means you will be able, occasionally, under pretense of 
taking a very large mouthful, to push a bunch of the shavings down. 

When you are nearing the end you declare that you have eaten a 
hearty meal, but that it does not seem to be agreeing with you ; that 
they should not be alarmed if they were to witness a startling "phenom- 
enon, as your digestive apparatus is subject tp all sorts of freaks. Then 
slip the ribbon into your mouth, and make a very wry face. Catching 
one end of the ribbon, you begin to pull at it slowly. After you have 
drawn out several yards of it cease drawing, but pretend you are still 
doing so. The efEect is the same as if you were continually drawing 
out more ribbon. When the fun has been long enough prolonged, fin- 
ish by drawing out the balance of the ribbon and declare that you feel 
better now. 



Take a plate containing some water and place upon it an empty 
tumbler. Then burn some brandy or spirits of wine in the glass, and as 
the flame is disappearing quickly invert the glass. The water will 
rush into the glass with great violence. 


You can go out of a room in which a game of dominoes is in pro- 
gress, saying that when they finish their game you can come back and 
tell them what two numbers are at the extremes of the lines without 
looking at them. The trick consists in securing, unobserved, one of the 
dominoes (not a double). Whatever it is, if the balance are laid down 
according to the rules of the game,thetwo ends of the line have the same 
number on them as on the missmg dominoe, 


It takes moral courage to say " I don't know," and whether the fol- 
lowing anecdote is true or not, it illustrates a phase of character that is 
not uncommon: 

" Father," said a young Hibernian, " what's a gondola?" 

"A gondola, is it?" 

" Yes." 

" It's a koind of vegetable that grows in Italy. Yis, and it tastes 
something loike a puttater." 

" Yis, sor. And what's a sultan?" 

" A sooltan, is it?" 


"A sooltan is a musical instrument that performs loike a hand- 

"Yis, sor. Thank ye, sor! An' what's a giraffe?" 

" A giraffe, did ye say?" 

" Yes, a giraffe." 

"A giraffe? Wall, now, Jimmy, it's a good while since I studied 
aljabry, but ef I remimber, it's one of them things that the haythen set 
down on when they drink their tay." 

" It must take a lot of experience to learn so much," 

" Ay, ay, my son, that it does." 



First Anniversary Paper 

Fifth " Wooden. 

Tenth " Tin. 

Fifteenth " Crystal, 

Twentieth " China, 

Twenty-fifth " Silver, 

Thirtieth " Cotton. 

Thirty-fifth " Linen. 

Fortieth " Woolen, 

Forty-fifth " Silk. 

Fiftieth " Golden. 

Seventy-fifth " Diamond. 


Drawing across the lips — Desiring a flirtation. 
Tw' isting in the left hand — I wish to be rid of you. 
Winding it around the third finger — I am married. 
Winding it around the fore finger — I am engaged. 
Putting it in the pocket— No more love at present. 
Letting it remain on the eyes — You are so cruel. 
Opposite corners in both hands — Do wait for me. 
Twisting it in the right hand — I love another. 
Drawing it through the hands — I hate you. 
Letting it rest on the right cheek — Yes. 
Letting it rest on the left cheek — No. 
Twirling in both hands — Indifirerence. 
Drawing across the eyes — I am sorry. 
Drawing across the cheek— I love yon. 
Folding it — I wish to speak with you. 
Dropping — We will be friends. 
Over the shoulder— Follow me. 

— A balky horse and a man "who knows it all " are the best means 

of teaching us the value of patience. — Fall River Advance. 


— Some women never fully value a husband until he has been 

killed in an accident, and they see a chance to recover damages, 



New Haven, Conn., July 6, 1883. 
I have examined the Ball Health-Preserving Corset, and have 
had for some time several patients wearing them. From my investiga- 
tion I am thoroughly satisfied that it has merits above any other Corset 
made. W. G. ALLING, M.D. 

New Haven, Conn., Dec. 5, 1881. 
In my opinion. Ball's Health- Preserving Corset is a thorough 
success, and does all you claim for it. In cases where physicians, as a 
rule, would recommend that corsets be discarded altogether, it is capa- 
ble of affording great comfort, because it will support the body without 
causing compression. F. L. DIBBLE, M.D. 

Chicago, October 23, 1880. 
I have examined Ball's Health-Preserving Corset, and believe 
that it is in every respect best calculated to preserve the health of the 
woman who wears it. It does not seem possible for the wearer of such 
a corset to be injured by tight lacing. It should receive the favorable 
endorsement of the physicians who have opportunity of examining it. 


Chicago, October 26, 1880. 
I fully endorse what Dr. Hyde says in the above note. 


Chicago, October 13, 1880. 
I have examined Ball's Health-Preserving Corset, and be- 
lieve it to be the least injurious to the wearer of any corset I have seen. 


Chicago, October 27, 1880. 
I do not advise any woman to wear a corset, but if she will do so — 
and she generally will — I advise her to use one of Ball's Bealth^ 
Preserving Corsets, as it is less likely to do her injury than any with 
wMclx I am acquainted, A, REEVES JACKSON, 


In this Corset the cut of the lower part of the bust, being lilce a 
<;up-shaped shelf standing at nearly a right angle with the body of the 
Corset, combined with the arrangement of the shoulder straps, affords 
entire relief to the muscles of the upper part of the breast of its 
wearer by sustaining the weight from the shoulder. This, together 
with the conve^iient arrangement of the upper part of the bust for ex- 
posing the whole breast to the child when desired, and the perfect ease 
and comfort afforded by the elastic section in the body of the Corset, 
renders this the only satisfactory Nursing Corset, and free from the 
many objections found in all others. 

Made from satteen jean, white and drab. Sizes 18 to 30. 

Testimony of Madame FURSOH-MADI, the Prima Donna. 

The Grand Pacific Hotel, John B. Drake & Co., Proprietors, 
Chicago, April 18, 1885. — Dear Sir : After having tried " Ball's 
Corsets " I find them in quality superior to any I have used before. I 
heartily recommend them to the public. 



Any lady purchasing one of Ball's Corsets 
may return it, after wearing it three ^veeks, 
to the dealer from whom it ^vas bought, if 
not found 

Perfectly i Satisfactory i in i Every i Respect, 

and the price paid for it A^^-ill be refunded by 
him; and if unsalable, the price paid by him 
will be refunded by us on its return to 

Chicago Corset Co. 



And yields readily to every breath, and motion of its wearer. Tlie only 
Misses' Corset approved by physicians as not injurious. 

Patented Feb. 22, 1881. Kabo Boned; Pat. Oct. 19, J 886. 


Train your daughters to a healthy and symmetrical body and mind, 
and existence becomes a delight. Last in our Catalogue, but first in 
importance, because of its effects on our daughters, is our 


Everjr mother will recognize and appreciate the value of this 
Corset over all others for her daughter if she does not that of our other 
Corsets for herself. It fits closely and perfectly, and in its elasticity 
admits perfect freedom of movement, room for growth and full res- 
piration. It is the ne plus ultra of Misses' Corsets. 

Made from satteen jean, white and drab. Sizes 18 to 26. 



Tableaux may be classed among the more elaborate of parlor 
amusements, requiring preparation and accessories. They can be made 
very efEective if some attention is given to detail. 

Among the articles at hand should be an assortment of chalk of 
various colors, some gauze, and if stormy scenes or battle-scenes are 
depicted, an oblong piece of sheet iron about Bi feet long and two feet 

Thunder may be imitated by hanging up the sheet-iron at one end 
and shaking the other end. The distant booming of artillery, by strik- 
ing with a large drum stick. An alarm or fire-bell by striking at regular 
intervals with a metal rod. >■■ 

Wrinkles can be made with black chalk; the hair whitened with 
chalk; poverty or sickness can be suggested by blue chalk marks under 
the eyes and in the hollows of the cheeks. 

Parlors that are divided by sliding doors are easily arranged for 
tableaux. A curtain can, however, be easily improvised from almost 
any material. It is best to hang it on heavy wire, since nothing is of 
greater importance than a well managed curtain. 

We give below a few striking scenes which may be represented. 

They are merely illustrations of what can be done with very limited 


Captain Smith lies upon the ground, with a block of wood where 
his head would be if it were not held in the left arm of Pocahontas, 
who is kneeling on one knee, and warding ofE the expected blow with 
the right hand. The executioner stands beside them with an uplifted 
club, while Powhattan stands a little behind this group in an attitude of 
suddenly arrested speech, while his face expresses surprise. There are 


Indians kneeling, sitting and standing about, who all appear to be struck 
with, apprehension. 

Pocahontas' costume is a short cloth skirt trimmed with fringe and 
colored beads, a waist without sleeves trimmed in the same way, with 
flesh colored hose, mocassins and feathered head dress. Bracelets of 
brass or beads should be on her wrists and ankles. Her hair should be 

Powhattan and the other Indians can be attired in overalls of various 
colors, with bright fringe trimmings and feather head-dress, belts 
around their waist, containing tomahawks, knives, scalps and so forth, 
and mocassins on their feet. Powhattan should be attired more showily 
than the rest and should wear a cloak. 

John Smith should have a brown coat, a black belt, a large white 
collar or ruif, full gray breeches, brown hose, black shoes with buckles 
and a black felt hat with a broad red ribbon on it. 

By burning red light on the stage, and turning the lights before 
the stage very low this can be made an impressive tableau. 



This represents the soldier leaving home. He stands as if about to 
depart, reaching for a musket which his sister, who is weeping, hands to 
Jiirn, while his wife clings to him, as if trying to detain him. An aged 
woman, his mother, kneels in prayer, while his father is endeavoring to 
restrain a small boy, the soldier's son, who is decked out with toy 
military trappings and is brandishing a small sword, the spirit of 
patriotism evidently having possession of him,although too young to fight. 

The volunteer should be attired in a military uniform, while the 
rest can dress in a manner becoming their parts without going to any 


When the curtain rises the stage should be dark. The volunteer 
of the former tableau lies upon the ground asleep, beside a camp-fire. 
The latter can be arranged by piling several sticks of wood upon each 
other and inserting bits of gold paper here and there among them- 
After the soldier has been disclosed a curtain back of him is slowly 
raised, revealing a raised stage, brightly lit up, with the same characters 


as in the first tableau. A man with clothes exactly like the sleeping 
soldier's is seated in an arm-chair, holding the boy upon his knee. His 
wife is seated on the floor beside him, her head resting upon his lap. 
The old man and the sister are seated at a table on which is a lamp, she 
evidently reading aloud to the family, while the mother sits in the back- 
ground nodding in sleep. 


Here the soldier appears in an officer's dress, with sword and 
epaulettes. The scene represents him as just arriving. A green cloth 
should be upon the floor of the stage in imitation of grass, the family 
meeting him before the house. The soldier is embracing his mother, 
the two being inclined in such a way as to give the imiDression that they 
had just flown into each others arms. The wife is running toward him 
with outstretched arms, while the sister and father appear dazed with 
joy and surprise. The boy stands before his father, with his hands 
upon the sword and an awe-struck look upon his face, his position indi- 
cating that he had run Out to meet his father and was returning with 
him towards the house. 


As many chairs and tables as can be put upon the stage without 
crowding should be placed there, in the utmost confusion, some of the 
chairs lying on the floor, while a dish pan and two or three flat-irons 
are strewn about. On the different chairs and tables stand half a dozen 
ladies of various sizes and ages and styles of dress, each holding her 
skirts tightly around her and apparently out of breath from exertion, 
armed with some article of female warfare — a broom, a rolling pin, a 
flat-iron or a poker. In the midst of them stands a very small boy (the 
smaller the better), holding up a dead mouse by the tail, with a small 
stick in his other hand. 


In the farthest corner of the stage lies what purports to be a dead 
woman on some straw. Two weeping children kneel beside the couch. 
In the foreground are the drunkard and his daughter. She has just 
snatched a half filled bottle from him and is pointing to the corner. 


where the children are kneeling, while he, in a toppling position, look 
with an idiotic stare in the direction she points. Poverty and distress 
should be depicted on their faces and in their dress, while the furniture, 
consisting of two chairs and a table, on which stands an earthenware 
vessel, should be very dilapidated. 



These should be represented by three ladies clothed entirely in 
white, exactly alike. The dresses should be loose, with flowing sleeves, 
and slit open from the knee down. White hose and white slippers 
should be worn. They all wear white wreaths upon their heads. 
Sculpture stands at the right of the group. Upon a white pedestal 
beside her stands a small statue. She has a mallet and a sculptor's 
chisel in her hands. Music stands in the middle with a harp in her 
hands, while Painting is on the left, with a palette and a brush. They 
should all stand as if in the act of working in their art. Everything 
should be painted white — even the ladies' faces. 

A Sample of Wifely Unselfishness.— An illustration of true 
wifely unselfishness comes from Newaygo county. Wis., where a woman, 
after making a nice little sum of money by picking blackberries, instead 
of buying a new dress, bought her husband a fiddle. 

—A book has recently made its appearance in Boston with the title 
of "Zobar." It makes a clerk look real angry to have a lady rush in 
and remark: "Young man do you keep 'Zobar?'" 

— "Coming out at the little end of the horn" is all right. It is the 
thought of never coming out at all that worries the young girl who is 
over the fence of youth into the garden of society. 

— It is reported that Wiggins learned to be a prophet by guessing 
what his wife would say when he came home late at night. — PMladel- 
pliia Herald. 

The corset is a paradox. It comes to stay, and at the same time 
goes to waist. 



B all's Q orskts. 

First — They need no breaking in. 

Second — Invalids can wear them with ease and comfort, as they yield 

to every movement of the body. 
Third — They do not compress the most vital part of the wearer. 
Fourth — They will fit a greater variety of forms than any other make. 
Fifth — Owing to their peculiar construction they will last twice as long 

as an ordinary corset. 
Sixth — They have had the unqualified endorsement of every physician 

who has examined them. 
Seventh — They have given universal satisfaction to all ladies who have 

worn them, the common remark being 

" We will Never Wear any Other Make." 

Eighth — They are the only Corset that a manufacturer has ever dared to 
guarantee perfectly satisfactory in every respect to the wearer, or 
the money refunded. 

The wonderful popularity of BALL'S CORSETS has induced rival 
manufacturers to imitate them and infringe on our patents. If you 
want a Corset that will give perfect satisfaction, insist on one marked 
" Patented Feb 22, 1881," 

i^^And See that the Name " BALL" is on the Box. 

K[abo "- Coi^^^t- 


Patented Oct. 19, 

KABO NO. 2. 

Patented Oct. 19, 1886. 

Made in White, Drab, Blach, Blue, Cardinal Made iri White and Drab Jean, 

and Ecru English Satteen. 

After thoroughly testing by actual wear for about a year, we have 
adopted and use, instead of horn or whalebone, a new material called 
Kabo, which after being treated by a secret process discovered by our 
Mr. Florsheim, is absolutely unbreakable. It will prevent the corset 
from rolling up in wear, which none of the many kinds of cords under 
various names will do. It is more pliable than either whalebone or 
horn, and consequently more agreeable to the wearer. We warrant our 
KABO corsets to neither break nor roll up with three months' ordinary 
wear, and we confidently ofEer the following guarantee: 


Any lady purchasing one of our KABO CORSETS may return it, 
after wearing it three iveelis, to the dealer from whom it was bought, 
if not found 


in every respect, and the price paid for it will be refunded by him; 
and, if unsalable, the price paid by him will be refunded on its re- 
turn to 


No. 202 Franklin St., OHIOAGO. 
No. 402 Broadway, NEW YORK. 


Fancy Work. 


Any firm material may be used for this purpose. Tlie suggestions 
we give with regard to color will perhaps be found as good as any. Get 
a piece of gray or yellow Java canvas, twelve inches long and seven 
wide with bright colored silk or satin for lining. Feather-stitch the 
canvas down both sides and across one end, leaving space to turn in the 
edges. Baste on the lining and finish the edges neatly by turning in 
and blind-stitching ; or bind them with ribbon to match the silk lining. 
The feather-stitched end is then pointed by turning down the corners 
and sewing them together. Turn the lower end up about four inches 
to form a bag and sew sides together firmly. Make a loop at the point 
and sew a button on the outside ; so that the case may be rolled up and 

TO mae::e handsome designs for neat pin- 

By folding a cloth repeatedly, and sewing on a machine almost 
at random, you can often make a very pretty design when the cloth 
is opened up. As an experiment try the following: 

Take a piece of thin, tough paper, about a foot square, and fold the 
two opposite comers together, forming a triangle; then fold again with 
the two long corners together. Be sure that the folded edges are even 
each time you double it. Then fold again so that the four comers are 
together, making a neat, little right-angled triangle. Now fold once 
more so that the center of the page is about three-fourths of an inch 
from the comer. Now remove the thread and shuttle from the machine 
and sew, or rather punch as crooked a line as you can sew, alloMang the 
stitches to come to the edges of the top fold, but not to run over it. 
Turn the paper about and stitch back in another direction. Then com- 


mence at the center point and run around promisctiously, forming each 
line into an irregular curve. Open up your paper and you will have a 
design that will surprise you and pay you for your trouble. To transfer 
the pattern upon cloth, use it as a stencil, powdering some common 
bluing through the holes. 


Cut out of green cloth a half-dozen leaves — almost any small leaf 
will answer for a pattern. Fasten on a piece of cloth, the points out, in 
the form of a circle. Then take some worsted or stained cotton batting 
and form a nest in which by means- of sealing wax or glue you fasten 
four or five peas painted white. After the penwiper has been used for 
a little while the eggs will appear speckled, caused by the ink spattered 
upon them, 


Take the smallest lead pencil you can procure, one from a ball pro- 
gramme perhaps, and sharpen the point. Then take a piece of black 
cloth and a piece of bright satin, cut in the form of a circle and scollop 
the edges. Then prick or cut a small hole in the center. Insert the 
lead pencil so that the satin is on the outside and crease the cloth into 
the shape of a closed parasol. Secure at the top by tying a small bow 
of silk ribbon around it, and allow the bottom to spread a little. 


" Crazy" patchwork originated in the following manner : A certain 
titled lady while learning embroidery in an English seminary lost 
her mind, and it became necessary to confine her in a private mad- 
house. But she still retained her passion for needle-work, and spent 
most of her time in uniting pieces of material furnished bar from the 
mad-house scrap-bag. Although unable to perform the difficult stitches 
of embroidery work, it was noticed that in joining the odds and ends of 
material given her she invariably used contrasting or assimilating 
colors of thread or silk, and that nearly every stitch was different from 
the others. Specimens of her work found their way outside of the 
asylum, and since then millions of women, apparently sane, have found 
delight in imitating the handiwork of the crazy countess, 



A very pleasing exhibition may be made, with very little trouble or 
expense, in the following manner; Provide a box, which you fit up with 
architectural designs cut on pasteboard ; prick small holes in those 
parts of the building where you wish the illuminations to appear, ob- 
serving, that in proportion to the perspective, the holes are to be made 
smaller, and on the near objects the holes are to be made larger. Be- 
hind these designs thus perforated you fix a lamp or candle, but in such 
a manner that the reflection of the light shall only shine through the 
hole; then placing a light of just suflicient brilliance to show the design 
of the buildings before it, and making a hole for the sight at the front 
end of the box, you will have a tolerable representation of illuminated 

The best way of throwing the light in front, is to place an oiled pa- 
per 1: efore it, which will cast a mellow gleam over the scenery, and not 
dimish the effect of the illumination. This can be very easily planned, 
both not to obstruct the sight, nor be seen to disadvantage. The lights 
behind the picture should be very strong ; and if a magnifying glass 
were placed in the sight hole, it would tend grately to increase the ef- 
fect. The box must be covered in, leaving an aperture for the smoke 
of the lights to pass through. 

The above exhibition can only be shown at candle-lights; but there 
is another way, by fixing small pieces of gold on the building instead of 
drilling the holes, which gives something like the appearance of illum- 
ination, but is by no means equal to the foregoing experiment. 

N. B. — It would be an improvement if paper of various colors, ren- 
dered transparent by oil, were placed between the lights behind the 
aperture in the buildings, as they would then resemble lamps of differ- 
ent colors. 


Take a grape leaf, lay it down on card-board, and, drawing around 
the edges, cut out the pattern. Get son^e tissue paper of various colors, 
fold six or eight times, and lay your pattern ujDon them, and cut to the 
same shape as your pattern with a sharp knife or pair of shears. These 
are for wiping the razor. Make the cover of the same form, in green 
silk, or cloth, or Japanese canvas. Overcast the edge, or bind it with 
ribbon, and imitate the veins of the leaf with long stitches of green 


sewing silk. The tissue-paper grape leaves are inserted between the 
outside leaf covers. There must be a loop of ribbon at the stem end 
A$S. the leaf to hang it up by. 


Get half a yard of white silk canvas, a yard and a half of thick 
satin ribbon, three inches wide, blue or rose-colored, a few skeins of 
floss silk, and a silk cord and tassels. Cut the ribbon into three pieces, 
to be basted at equal distances on the canvas, one in the middle, the 
others at either side, half-way between the middle and the edge. 
Feather stitch the ribbon down on both sides with pale yellow floss. 
In the spaces left between the ribbon stripes, embroider a graceful 
little pattern in flosses which harmonize with the shade of the ribbon. 
Make up the cushion with a lining of plain silk or satin, and trim the 
edge with the cord and tassels. The colors may be different than those 
given. Black satin ribbon and brilliant embroidery make an effective 


The following materials are required: A few narrow strips of 
card-board; some gold paper; a square inch of red merino, flannel or 
silk; a square inch of blue silk; some tiny bits of blue, yellow, red, 
green, white, and black paper or woolen goods; and three little sticks 
of wood. A match will supply two pieces, if whittled down a little 
thinner; the other must be half an inch long and a quarter of an inch 
broad. Cut three strips of card-board half an inch wide; two must be 
nine inches and the other 83^ inches long. Bevel the two at the top so 
that they will fit together like the letter A. Cover all the strips with 
gold paper, leaving a surplus of paper at the top. When dry punch 
three or four holes at equal distances in the two strips forming the 
front of the easel. With thickly melted gum-arabic join the two front 
pieces; the gold paper must be folded over the top of each strip. Next 
gum a small piece of wood half an inch long at the back, where these 
two strips join; then gum the back piece on. The gold paper, which 
has been left longer than, the strips, will now be found useful in fasten- 
ing all three strips together by gumming the paper. A little red skull- 
cap, made of merino or silk, covers all sign of patching, and helps to 


strengthen the whole. The easel-pegs are made by covering the match- 
like stick of -wood first with white and then with gold paper, and are 
fastened in the easel holes with gum. The palette is cut out of card- 
board, covered with gilt paper, and has the bits of colored goods pasted 
on it. It is hung on the peg and fastened with gum. The mahl-stick 
may be made of a tooth-pick. The gold paper is cut in a narrow strip 
and wound around the mahl-stick, the end of which is ornamented 
with a knob, made by cutting a round piece of blue silk, tying it with 
black silk. Gum the mahl-stick fast to the back of the palette, one 
end resting on the floor. The piece that lies across the easel, sup- 
ported by the pegs, is made of card-board, covers with gilt paper and 
need not be fastened. The palette will keep it in place. , Use flour 
paste for fastening the gilt paper on the card-board. For all the other 
fastening use gum-arabic. 


Cut a yard and a quarter of plain or figured white muslin into two 
breadths, sew them together, and make a hem two inches wide on both 
edges. Run a thread all across one end, half an inch below the hem; 
into this put some tape, and draw up the frill, leaving a knot in the tape 
at each end. The ruffle is to be nailed to the wall through these knots, 
above the wash-stand, where the wall paper is in danger of being spat- 
tered when persons are washing. Make two pretty bows of the ribbon 
and pin them over the tape ends. You can draw up the lower part of 
the muslin piece also if you wish, so as to make the top and bottom 
just alike. 


These covers are made of coarse gray linen like that used for 
kitchen table cloths. One of the best patterns to choose is that very 
common one which is lined off into diamonds, with a star in the middle 
of each diamond. Divide these stars into groups of four, six, or 
eight, and work each star with Berlin worsted of a different color, tak- 
ing care that your colors harmonize with each other and make a good 
general effect. When all the stars are embroidered sew narrow black 
velvet ribbon over the lines which form the diamonds. If for a table 
cover, trim the edges with a row of black velYet ribbon, a fringe or a 
cord with tassels in the corners. 



Planche's Cyclopaedia of Costume says the word "corse," "corses," 
or " corset " was first met with in the fourteenth century, and was ap- 
plied to a close-fitting garment or a pair of stays, though in that time it 
evidently indicated an outer vestment. In the wardrobe account of 
Edward III, there is an entry of " a corse of red velvet with eagles and 
garters for the queen," and mention of "corsets of cloth furred," given 
by the king to Queen Phillippa. 

M. Viollet-le-Duc has a long article on this subject, in which he 
quotes numerous passages from the French chronicles, wardrobe ac- 
counts and other documents, showing that a garment called a " corset" 
was worn in France from the time of St. Louis to the commencement of 
the fifteenth century, by both sexes and all classes; that it varied in length, 
shape and amplitude; that it was lined occasionally with fur, and had 
sleeves of every imaginable description. 

The jupon of the fourteenth century was the military garment 
which succeeded to the surcoat of the thirteenth. It fitted the body 
tightly, and was worn over a steel breast-plate, which, at that period, 
was also called a corset. The term was generally applied to various 
garments worn by men as well as by women, and all possessing the pe- 
culiar feature of closely fitting the person from the neck to the waist. 
The name corset was applied during the fourteenth and fifteenth cen- 
turies to various similar articles of dress, also known as the "kirtle," 
the "cote-hardie," the "jacket," the "doublet," and the "pourpoint." 
By the sumptuary laws of Edward IV, the wives of esquires and gentle- 
men, knight-bachelors, and knights under the rank of lord, unless they 
were knights of the Garter, were forbidden to wear cloth of gold, vel- 
vet upon velvet, furs of sable, or " any kind of corses " worked with 
gold; and women of inferior rank were prohibited from wearing " any 
corse of silk " made out of the realm. 

Something like a bodice appears about this time, the body of the 
dress being laced in front over a stomacher, as in Switzerland and other 
parts of the eastern continent it is seen to this day. 

Ever since the time of Edward III. penurious costumers have been 
busy in modeling changes in the style and construction of this almost 
indispensable article of female apparel, until the world is deluged with 
contrivances of every imaginable description, most of them, however, 
better adapted for the purpose of coining money for the inventor and 


to make business for the doctors and undertakers, than to give health, 
comfort and beauty to the wearer. It remained for Dr. Ball to give to 
the world his now famous Health Preserving Corset, which possesses all 
the merits of all the known styles since Queen Phillippa donned her 
kirtle, up to the time when the more modern costumers attempted to 
steal his patents and rob him of his well-earned success ; but it em- 
braces besides a principle which, instead of being destructive of female 
loveliness by painting the face with the hue of death, adds grace to 
the body, contour and dignity to the figure, and the glow and beauty of 
health to the cheek of the wearer. A corset with coiled wire spring 
sections that a woman cannot use as an instrument of torture, while she 
gets all the benefit of substantial support and stay, is a godsend ; and 
such a corset has only been produced in the nineteenth century. — 


We have heard a number of good things on " dudes," but none bet- 
ter than on one who, for some incomprehensible reason, was married 
one day last week to a stout, healthy country girl. The dude was per- 
fumed, wore frills on his shirt, had his hair curled, and he presented 
such a feminine appearance that the clergyman said: 

"I don't want to make any mistake about this business, so which of 
you is the bride, anyhow?"— P(>^^er County {Pa.) Journal. 

We feel that our Corsets need only be known to the ladies to insure 
their gratitude and our success. Our confidence in this fact is such that 
we offer the following guarantee on all the goods we make: 

We hereby guarantee every one of Ball's Coiled Spring Elastia 
Section Corsets as perfectly satisfactory in every respect to the wearer, 
or the money paid for it will be refunded by the person from whom it 
was bought, if it has not been worn to exceed three weeks. 

These Corsets' are for sale by first-class dry goods dealers every- 
where, but if not found in your town will be forwarded by mail, as 
shown inside. 

In ordering p'ease gtate style, sfee, aud colpr wante^r 



Glasgow News. 
The evils of tight lacing were shown at an inquest which was held 
last week at Kilburn, upon the body of Mrs. Amelia Jury. Dr. Hill 
stated that upon making a post-mortem examination he found that the 
stomach was contracted in the middle by a firm band, narrowing it to 
one-eighth of the usual size, so there were virtually two stomachs, and 
this contraction was on a level with a deep indentation on the liver, 
corresponding to where the stays were tightly bound round. The liver 
itself was flattened out,* and was driven down very deep into the pelvis 
also, and there was no doubt but what this w-as also produced by tight 
lacing. The Coroner said that he some time ago held an inquest where 
it was shown that the liver had been very seriously injured through 
tight lacing, and perhaps these cases would act as a caution against the 
practices now adopted, 


" How do you pronounce d-o, Mr. Featherly?" inquired Bobby, at 
the dinner table. 

" Do, Bobby," replied' Mr. Featherly, indulgently. 

"How do you pronounce d-e-w?" continued Bobby. 

"D-u-e-w," and here Mr. Featherly put on a genteel air for the 
benefit of Bobby's big sister. 

"Well, then, how would you pronounce the second day of the 

" Tewsday, I thmk." 

" You're wrong." 

" Wrong ? How would you pronounce the second day of the week ?" 

" Monday." 

—A little girl, visiting a neighbor with her mother, was gazing curi- 
ously at the hostess' new bonnet, when the owner queried: "Do you 
like it, Laura?" The innocent replied: " Why, mother said it was a 
perfect fright, but it don't scare me! " 

— Lightning-rod agent — " It's dangerous to be under this tree in a 
thunder-storm. One of us might get killed." Victim — " Well, if you 
are killed you won't be able to talk any more, and if I am killed I can't 
bear you. So I guess we'd better ,sta^," 




Morehouse Pakish, La., Aug. 15, 1884. 
Chicago Corset Ck).: 

My wife is especially pleased with Ball's Corset. She says it fits 
like an old glove, and it is perfectly easy. Allow me to congratulate 
you on making the best corset I ever saw^ 


OsKAiOosA, lowA, Aug. 21, 1883. 
Chicago Corset Co.: 

Score another compliment for your Corset. One of our promi- 
nent lady singers says she will not allow any of her quartette to sing in 
any other kind but Ball's Health-Preserving Corset. 


Atchison, Kan., Oct. 15, 1884. 
Chicago Corset Cf.: 

The Corset that you sent my wife pleases her better than any she 
has ever had, and I consider Ball's Corsets the most perfectly arranged 
for health of anything of the kind I have ever examined. You can 
hereafter consider her a customer of yours for corsets. 


Marysville, Ohio, Aug. 16, 1884. 
Chicago Corset Co.: 

I want one of your Circle Hip Corsets. I am a practicing physician, 
and will cheerfully recommend the Corset to my patrons. I am sorry 
I have to wait over Sunday, I am so anxious to get the very best Corset 
that ever was made. I feel anxious about the man who composed all 
that poetry. Is he living, and in comfortable health? Now, I am pas- 
sionately fond of music, and if I can only find a composer capable of 
writing a grand symphony to which I can sing those words, and at the 
same time keep those beautiful pictures before me, I shall die content — 
especially if the Corset suits, which of course it will. 

Very respectfuDy, MRS. ANNA HOYT, M.D. 


If you appreciate a Corset that will neither break down 
nor roll up in wear, 


If you value health and comfort, 


If you desire a Corset that fits the first day you wear it, 
and needs no " breaking in," 


If you desire a Corset that yields with every motion of 
the body, 


If you want a perfect fit and support without compres- 


Owing to their peculiar construction it is imbossible to 
break steels in Ball's Csrsets. 

The Elastic Sectiona in Ball's Corsets contain no rubber, 
and are warrented to outwear the Coi-set. 

Every Pair Sold with the Following Guarantee: 

"^ If not perfectly satisfactory in every respect after 
three weeks' trial, the money j^rtirf for them tvill be re- 
funded (by the dealer), SOILED OR UNSOILED." 

Look out for worthless imitations. See that the name 
" BALL " is on the box, also guarantee of Chicago Corset 


The wonderful popularity of BALL'S 
CORS E TS has induced rival 
manufacturers to imitate them and in- 
fring^e on our patents. If you want a 
Corset that will give perfect satis- 
faction, insist on one marked " Patented 
February 22, 1881," and boned with 
K A B O, which is the only CORSET 
Stiffener treated by FLORSHEIM'S 

SECRET PROCESS, and there- 
fore unbreakable, and 

Seethat the Name BALL" i^ on the Box. 

Testimony of MES. J. PABRY, of the Mapleson 
Opera Company. 






In reading fortunes by the hand not only must the lines on the palm 
be observed and studied, but the general shape, appearance and texture 
of the entire hand and of the different parts should be noted, as well as 
the prominences on the palm designated above by the names of the 

The entire hand should first be observed. 

Small hands show the man who plans; large hands the man who 
performs. Long hands an appreciation and performance of detail; 



short hands a broad grasp of generalities. Hard hands show strong 
muscular power and endui-ing activity. Elastic or sinewy hands show 
energy rather than endurance, vitality without proportionate muscular 
power, a tendency to mass the entire strength into brief and effective 
effort. The soft hand shows little muscular power, bait grace and activ- 
ity in light labor. The plastic, or soft, non-elastic hand, shows a, lack of 
endurance, a low state of vitality and muscular power, weakness, pass- 





ivity, and possibly disease. Hard hands show an appreciation for 
practical realities ; soft hands an appreciation of the imaginative facul- 
ties. If the palm is thin, skinny, and narrow it denotes a feeble mind, a 
narrow intellect, a general feebleness and flabbiness of character. If 
the palm is firm and well-proportioned it indicates intelligence, will 
power and an evenly-balanced mind. Again, if it is so wide and strong 
as to be out of proportion with the fingers, the thumb, and the rest of 
the body, it indicates selfishness and sensuality ; while going still farther 


in the same direction it indicates brutality unrestrained by intelligence. 
A hollow hand denotes failure and misfortune. It is always the rule 
that the normal and well-proportioned hand is the best. 

The fingers are then examined. 

"Knotted" fingers — that is, fingers in which the joints are so de- 
veloped as to show a perceptible bulge — indicate logical thought or 
deduction and a desire for order and proof. Smooth fingers signify 
perception, intention, and rapid determination. Tapering fingers show 
the rule of the ideal — the more tapering the more idealistic. Painters, 
sculptors, musicians or poets will have smooth, tapering fingers, with 
full, oval finger-tips. Pointed finger-tips show the same qualities 
erratically used. Square-tipped fingers attest a mind and hand working 
in unison, the brain directing the hand and the hand obeying the brain 
in constant work for definite ends. Square-ended and slightly knotted 
fingers are characteristics of most celebrated men. Spatulate or stubbed 
fingers indicate a desire for manual labor or muscular effort. Large, 
ungainly fingers, of the same size at the end as at the roots, index one 
who is an unthinking plodder and drudge, short fingers see the mass 
and judge of the whole, long fingers see the individual parts and by 
them form an estimate. 

The nails must also be studied. Long nails indicate a peacemaker 
or one who is steadfast in friendship, or one who wants to see only the 
good, or one who is skilled in diplorriacy. Short nails indicate self- 
assertion; with the skin high upon them they suggest pugnacity, mock- 
ery, or frivolity; with a large thumb they indicate malice and irritation. 
Broad nails indicate gentleness and submission. Narrow nails show 
activity and a love of excitement, and suggest a mischievous and tyran- 
nical disposition. Round nails show an honest disposition and a quick 
temper; if very small and round they show obstinate anger and hatred. 
Fan-shaped nails announce envy and vanity. 

Then study the palm carefully. Notice first the three chief lines 
of the hand. The vital line, or line of life, encircles the ball of the 
thumb, or Mount of Venus. The thought line, or line of head, starts 
from the line of life (to which it is usually joined) between the thumb 
and first finger, and runs in an approximately straight line across the 
hand. The impulse line, or line of heart, starts from the Mount of 
Jupiter or Saturn and runs across the hand as the boundary line of the 
Mounts of Saturn, Apollo, and Mercury, These three lines represent 


respectively, vitality, intellect, and affection. Chief of the secondary 
lines is the material line, or line of fortune, also called the line of fate, 
which starts down near the wrist, either from, the line of life (as in the 
map) or further towards the Mount of the Moon, and runs towards the 
Mount of Saturn, near or upon which it generally ends. The line of 
art and brilliancy rises at or near the line of life and runs to or over the 
Mount of Apollo. The assimilation line, or line of health, rises near 
the wrist and runs across the line of thought in the direction of the 
Mount of Mercury. The line of nutrition, also called the Milky Way, 
traverses the Mount of the Moon parallel to the assimilation line. The 
sister vital line, or line of Mars, lies inside the line of life. The sister 
impulse line, or Girdle of Venus, begins mostly between the little and 
third fingers and incloses or traverses the Mounts of Apollo and Saturn, 
ending between the middle and index fingers. 

See if the mounts are in proper proportion, and, if not, then towards 
what other mounts they are deflected. Next as to the condition of the 
mounts, whether large, moderate, or depressed. Next their relation to 
the lines — the principal, secondary, or minor lines — which point to- 
wards, touch or traverse them. Mounts are favorable when, they are 
generous, smooth, well-rounded, and connected with the appropriate 
lines. The Mount of Venus, in connection with the vital line, shows 
the phj^sical man, his strength, intensity, endurance and force. Venus 
favorable indicates a prime physical manhood, but whether this man- 
hood is used to a good purpose must be determined by the tendencies 
and abilities shown in the other parts of the hand. All lines on the 
mount that are parallel with the vital lines indicate a legitimate and 
healthy use of the strength, while lines at right angle indicate irritation 
and excess. Jupiter favorable indicates ideality, sensitiveness, refine- 
ment, and enthusiasm. It may, therefore, according as the other parts 
of the hand determine, indicate religious fervor, worthy ambition, honor, 
self-respect, ardent affections, a love of the beautiful in nature or art, or 
other desires founded upon impressionability. Jupiter weak and de- 
pressed indicates a mind devoid of imagination or versatility. The 
Mount of Saturn indicates realism, seriousness, and intensity of purpose. 
Favorable it shows industry, prudence and energy, and success through 
these qualities if success be possible. This mount depressed or absent 
shows an easy-going, careless disposition. 

The Mount of Apollo, when favorable, indicates taste and ability in 


the arts. Mercury favorable indicates a love of clear, exact, full knowl- 
edge. It shows promptness, clearness, logical persuasiveness. When 
excessively high it denotes pretentious arrogance. Absent or depressed 
it shows awkwardness and diffidence. The Mount of Mars, when 
favorable, indicates courage, coolness and fearlessness in danger. Mars 
excessive will suggest foolhardiness and cruelty. The Mount of the 
Moon denotes vague, restless desires, and an inclination for melancholy 
and solitude. 

Lines must be read according to their position, length, continuity, 
development, color, and shape. By development is meant their direction 
after being joined or intersected by another line. The vital line (the 
instructions for which will serve as a key for the interpretation of all 
the other lines) represents the life of the individual. This line in con- 
nection with the formation of the Mount of Venus gives the key to the 
physical condition of the subject, and as the intellect and affections, as 
well as the fortune, are to some degree dependent on the physical con- 
dition for their proper development the meaning of the value of this line 
must be borne in mind when interpreting the other lines and mounts. 
The vital line clearly drawn and well-formed, without breaks or cuts, 
and continuing completely round the Mount of Venus until it unites 
with the wrist-line, denotes vigorous health, a good constitution, free- 
dom from dangerous diseases, and consequently long life. If the line 
is double, or has a sister line, it shows an exceptionally vigorous exist- 
ence. If the line is long and slender it indicates low vitality and doubt- 
ful health. If this slender line is red it shows irritability of tempera- 
ment; if pale, it shows sluggishness of the blood and a lack of endurance. 
A healthy flesh-color is the normal condition. If the line is broad and 
pale it indicates a tendency to diseases of the digestive organs; if broad 
and livid it shows a tendency to heart disease. If the line is splintered 
or chained it indicates painful diseases. If broken by many little lines 
it shows numerous sicknesses or troubles that have become chronic. 
Severe sicknesses leave their record on this line. The age at which 
sickness or accident occurred or at the age at which sickness or accident 
is threatened may be approximately determined by the location of the 
cut, break or change on the vital line — the line not only recording the 
dangers safely passed but those that lurk in the future. 

Branches toward the Mount of Jupiter indicate ambition and suc- 
^eps, Byaiiches must be interpreted by the character of th© jnoiiitits 


toward which they tend. The connection of the life and thought lines 
show life and thought in harmony and vice versa. The life line bifur- 
cated near the wrist suggests brain troubles. A clear and direct thought- 
line signifies a lucid mind in a healthy brain. Curving towards the 
Mount of the Moon it indicates a capricious fancy. The strength and 
intensity of the affections are proportionate to the strength and clearness 
of the line of impulse or heart. If the line runs clear across the hand 
it indicates an excess of affection which runs to jealousy. A chained 
line indicates flirtations. Breaks denote inconstancy. Intersections by 
little cross lines indicate unfortunate love affairs. The line of fortune, 
when it starts from the line of life, indicates that the luck in life is the 
result of personal merit. Starting from the Mount of the Moon it shows 
that the fortune is due to the affection or caprice of the opposite sex. 
If straight and of good color from the line of heart toward the fingers 
it denotes good fortune in the later years of life. The line of fortune is 
divided into periods, as in the line of life. From the wrist to the line 
of thought represents the first thirty years of life; from the line of 
thought to the line of impulse shows the fortune between the ages of 30 
and 45; and from the line of impulse to the end of the line toward the 
fingers shows the fortune to the end of life. 


A noted industry of Aurora, 111., a city of extensive industries, is 
the Chicago Corset Company's factory, employing 800 operatives in the 
manufacture of Ball's famous Health Preserving Corset. In the erec- 
tion and fitting up of the factory, which is of brick, 200x150 feet in 
size and four stories in height, $75,000 was expended. On the east side 
of the building are the engine and boiler rooms — an addition 22x34 feet. 
The ground upon which it is located is owned by the company, and is 
297x170 feet in size, upon which it is designed in the future to erect the 
large buildings of an immense factory, of which the i^resent structure 
will be but one wing. The building is well lighted, containing about 
250 double windows. Careful attention is given every sanitary consid- 
eration throughout the entire building. Each story is 12 feet from floor 
to ceiling, the ascent being made by broad stairways. All goods are 
handled by a steam elevator. All woodwork is covered with fire-proof 
paint, and the upper story contains a large cistern of water, from which 
connections are made with each floor. The gas used about the prem.- 
ises is naanufactured on the grounds from gasoline, 


The first floor contains the office, cloak-room, stock-room, and ship- 
ping-room. The second and third floors will be devoted exclusively to 
sewing machines, each floor being intended to accommodate between 
three and four hundred operatives, the majority of whom are women. 
On the third floor are 300 of the "I. F." Singer sewing machines, and 
150 on the second flo'br. The fourth floor contains some of the intricate 
machinery for coiling wire and preparing other portions of Ball's fam- 
ous Health Preserving Corset, and also the cutting table. This table is 
an elaborate and costly piece of furniture, one hundred feet in length 
by three in width, constructed of small blocks of wood five inches in 
length securely glued together, so that the cutting surface is composed 
of the ends of these blocks. Forty-eight thicknesses of the fabric 
being spread upon this table, the brass patterns are tacked upon it and 
the cutting is speedily and skillfully executed with a knife. Aside from 
the Singer machines, nearly every piece of machinery used in the man- 
ufacture of this corset is the invention of Mr. T. H. Ball, the senior part- 
ner and manager of the establishment, and some portions of it are very 

Power is furnished by a fifty horse-power engine. The company 
have 'for some time had a large factory in operation in Chicago, but the 
increasing demand for its product rendered necessary an enlargement 
of manufacturing facilities. Hence the establishment of the Aurora 

The demand for Ball's Corsets was so great, that the Company has 
been obliged to open another factory at Joliet, 111., where they employ 
200 operatives, and have 100 Singer sewing machines running. — Chicago 


Mr. Richard A. Proctor, the well-known lecturer on astronomy, 
once tried the experiment of wearing a corset, and thus describes the 
result : -'When the subject of corset wearing was under discussion in the 
pages of the English Mechanic, I was struck," he says, "with the appar- 
ent weight of evidence in favor of tight-lacing. I was in particular 
struck by the evidence of some as to its use in reducing corpulence. I 
was corpulent. I also was disposed, as I am still, to take an interest in 
scientific experiment. I thought I would give this matter a fair trial. 
I read all the instructions, carefully followed them, and varied the time 
of applying pressure witb. that ' perfectly stiS busk ' ^bout which corr«- 


spondents were so enthusiastic. I was foolish enough to try the thing 
for a matter of four weeks. Then I laughed at myself as a hopeless 
idiot, and determined to give up the attempt to reduce by artificial 
means that superabundance of fat on which only starvation and much 
exercise, or the air of America, has ever had a;iy real reducing influ- 
ences. But I was reckoning without my host. As the Chinese lady 
suffers, I am told, when her feet-bindings are taken off, and as the flat- 
head baby howls when his head-boards are removed, so for a while was 
it with me. I found myself manifestly better in stays. I laughed at 
myself no longer. I was too angry with myself to laugh. I would as 
soon have condemned myself to using crutches all the time, as to wear- 
ing always a busk. But for my one month of folly I had ti) endure 
three months of discomfort. At the end of about that time I was my 
own man again. 


" There's a man with a club in the ofiice down stairs, looking for the 
editor," remarked the office-boy, coolly, to the boss of the sanctum, as he 
walked in and set the towel up in the corner. 

" Good Lord ! " groaned the editor. "Are you sure?" 

" Yes," replied the boy. " He was looking for the editor ; that's 
what he said." 

"What kind of a man was he? " 

"Tough, country -jake sort of a chap, as big as a skinned boss, and 
hands on him like hams," answered the boy, with a wicked smile. 

"What kind of a club did he have ; was it anything like a dray- 
pin?" suggested the editor, watching the door, nervously. 

" Wait till I go and see," said the boy, kindly. 

In a few minutes he returned. 

" Well? " queried the editor, mopping the cold perspiration up with 
a last year's blotter, " Well? " 

1' Ugh ! " grunted the boy, in a disappointed tone ; " it was a club 
of twenty new subscribers." 

Then the editor kicked the boy gleefully, and ordered him to bring 
the man up. 

Said a little Brooklyn boy who was watering the flowers in his 
mother's garden with his latest acquisition, a watering pot: " Now, God, 
you take c^re of the rest of the ground, and I'll attend to this little patch !" 





Dry Goods. 

Corsets, Linens, Flannels, Muslins, Prints, 

l70SiBi^Y, Gloves, Undbp^weai^, 


Ruchings, Collars and Cuffs,